Auer, Mischa

And Then There Were None

At first glance, René Clair might seem an odd match for Agatha Christie's mystery thriller Ten Little Indians, but his buoyant touch is exactly what is missing from so many overly solemn remakes. Ten strangers gather for a mysterious gathering on a secluded island. It turns out to be a farewell party, for they all have been sentenced to die for crimes in their past by a self-appointed judge, jury, and executioner who may be one of them. One by one, the guests are systematically dispatched in the manner described in the lyrics of the children's rhyme "Ten Little Indians," while the survivors nervously eye one another, splintering into tenuous alliances until the next murder throws suspicion on someone new. The terrific cast of character actors has a ball with Dudley Nichols's witty script. The flamboyant sparring of Barry Fitzgerald (whose paternal Irish lilt takes a sinister dimension) and Walter Huston is almost upstaged by Roland Young's deadpan drollery. Romantic leads Louis Hayward and June Duprez come off as arch and stiff in august company that includes a sinisterly detached Judith Anderson, a dotty and distracted C. Aubrey Smith, and a hilariously flippant Mischa Auer. The story has been remade numerous times under the title of Christie's novel, Ten Little Indians, but never as well. Clair's effervescent, lively little gem is a fatal drawing-room comedy with a body count and a surreal mood of doom. --Sean Axmaker

Ten people, strangers to each other, are invited to a lavish estate on an island. Through a recording, their mysterious host accuses each of his `guests' of murder and proceeds to exact `justice'. The tension mounts as, one by one, the number of people are reduced through the ingenious plotting of the unseen killer. Finally only two are left and each is uncertain as to weather or not the other is the murderer. A top cast of veteran performers bring the intricate twist of the plot to life. One of the most thrilling novels, climaxes at the spine tingling conclusion. Match wits with the script as you watch a thriller that has carved its own special niche in the realm of tales of suspense and mystery. Released by 20th Century Fox. Bonus Features: Bonus Classic Comedy Two-Reeler starring Leon Errol, Scene Selection, Actor Bios, Narrative track for the blind. Specs: DVD5; Dolby Digital Mono; 97 minutes; B&W; 1.33:1 Aspect Ratio; MPAA - NR; Year -1945.

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

Marlene Dietrich - The Glamour Collection (Morocco/ Blonde Venus/ The Devil Is a Woman/ Flame of New Orleans/ Golden Earrings)

A queen of the silver screen Hollywood star Marlene Dietrich carved a place for herself in film history with her roles in the five films gathered here: MOROCCO BLONDE VENUS THE DEVIL IS A WOMAN FLAME OF NEW ORLEANS and GOLDEN EARRINGS. See individual descriptions for details.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 025192845529 Manufacturer No: 28455

Marlene Dietrich was one of the cinema's glorious creatures, an elegant arrangement of bone structure and silver light, blessed with a sly sense of humor. Marlene Dietrich: The Glamour Collection assembles five titles featuring la Dietrich at her best, with a special emphasis on one of the great Hollywood director-star collaborations.

Dietrich and director Josef von Sternberg met in Germany when he plucked her from obscurity for the starring role of The Blue Angel, after which she came to America and instant stardom. A string of films with Sternberg created her image as an exotic source of fascination, both ethereal and sexually knowing. Three of those outings are included in this package. Morocco, their first Hollywood movie together, is a delirious look at a cabaret singer taken with a Foreign Legion soldier (the young Gary Cooper). Dressed in masculine clothes for her act, Dietrich already displays a sexual confidence that fairly burns off the screen. Blonde Venus has a soap opera-ish plot about a woman's fall and rise, but Dietrich's commitment to the part is complete; plus, there's an outrageous faux-African number that begins with Dietrich dressed in a gorilla costume. Cary Grant looks on in astonishment.

The Devil Is a Woman is an unmitigated Sternberg-Dietrich masterpiece, and their final movie together. Here Marlene is a Spanish vixen making life exciting and miserable for Lionel Atwill (a lookalike stand-in for Josef von Sternberg himself). The film is an eye-popping light-painting draped with feathers, mesh, and confetti, all of which are in service to a fundamentally serious inquiry into the knotty business of men and women.

Putting three of the Paramount Dietrich-Sternberg films in this collection and leaving out the other three is either carelessness or marketing strategy. In any case, the other two movies in this package are not at the same level, but certainly good fun. The Flame of New Orleans, director Rene Clair's first Hollywood picture, is a gorgeously photographed comedy with a delightful role for its star. Dietrich is stuck choosing between aristocrat Roland Young and rough sailor Bruce Cabot. The look on her face as she listens to helpful advice about wedding-night conjugal realities from a matron is a riot of erotic mischief. Golden Earrings is a crazy story about Ray Milland getting stuck behind German lines in the early days of WWII, and being taken in by gypsy girl Dietrich. Even here, nearly 20 years after her first stardom, she's still Dietrich. The hair may be dyed black, but the cheekbones are unmistakable. --Robert Horton

The Cecil B. DeMille Collection (Cleopatra/ The Crusades/ Four Frightened People/ Sign of the Cross/ Union Pacific)

This collection of classic Hollywood features directed by Cecil B. Demille includes the following five films: SIGN OF THE CROSS FOUR FRIGHTENED PEOPLE CLEOPATRA THE CRUSADES and UNION PACIFIC. Each film proves that Cecil B. De Mille was the ultimate when it came to creating epic and grandiose versions of history using a signature blend of period realism and sumptuous art direction.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 025192948725 Manufacturer No: 29487

One of Hollywood's greatest showmen gets a worthy showcase in The Cecil B. De Mille Collection, consisting of five of the legendary producer-director's most characteristic films. As noted by David Thomson in his influential book A Biographical Dictionary of Film, "De Mille's movies are barnstormers, rooted in Victorian theatre, shamelessly stereotyped and sentimental, but eagerly courting 20th-century permissiveness, if only solemnly to condemn it." That's an apt description of the films included in this nicely packaged box set, which offers no extras beyond the films themselves. Thomson is equally accurate in calling De Mille's films "simple, raw, pious, and jingoistic," but as these five well-preserved films make abundantly clear, De Mille was always a consummate entertainer. One of Hollywood's foremost pioneers, De Mille cut an iconic figure, single-handedly defining the archetypal image of the dictatorial director, complete with boots, jodhpurs and an ever-present riding crop to enforce his domineering authority. After failed attempts to work independently and, later, for MGM, De Mille found a permanent home at Paramount in 1932, and it's there that he made these five films (now owned by Universal as part of their pre-1948 Paramount library), which represent the glorious clash of Christian virtues, epic-scale production values, lurid sexuality, and self-important grandiosity that make De Mille's films so curiously (and in many cases hypocritically) enthralling.

The Sign of the Cross (1932) is quintessential De Mille, now famous for its pre-Code (i.e. pre-censorship) scene of peep-show nudity as Claudette Colbert (playing Poppaea, wife of Charles Laughton's Roman emperor Nero) takes a tantalizing bath in goat's milk, daring DVD viewers to freeze-frame "the naughty bits" while Roman prefect Marcus (Frederic March) struggles to reconcile his loyalty to Rome with his forbidden love for the Christian maiden Mercia (Elissa Landi), who's destined for the lion's den. Full of outrageous spectacle (including dwarves in the Roman arena), this blood-and-guts epic is pure De Mille compared to the more conventionally formulaic adventure of Four Frightened People (1934), also starring Colbert as one of the four titular characters shipwrecked on a remote Malay island (filmed at Mauna Kea and Mauna Loa, in Hawaii) and forced to fend for themselves. It's a stodgy but frequently amusing adventure, with Colbert's uptight schoolmarm growing sexier and less inhibited with each passing scene. Colbert returns (De Mille obviously adored her) in the title role of Cleopatra (1934), easily seducing Marc Antony (played by De Mille favorite Henry Wilcoxon) in a film as lavishly appointed as it is melodramatically extreme. Wilcoxon pairs with Loretta Young in The Crusades (1935) with De Mille once again mixing piety with prurience in a religious epic that promises plenty of sex but, in classic De Mille fashion, remains steadfastly chaste. Union Pacific (from Hollywood's golden year of 1939) is a grandly entertaining Western that mangles history (specifically, events surrounding construction of the transcontinental railroad) while casting gunslingers Joel McCrea and Robert Preston in a contest for Barbara Stanwyck's affections.

Choosing a favorite among these five films is purely a matter of personal taste, but for all of his weaknesses as a director (not the least being a condescending and self-righteous arrogance toward his audience), De Mille was never, ever boring. These films helped to make Paramount the most profitable studio of the 1930s, and they hold up remarkably well. Despite the complete absence of bonus features (Universal once again taking the low-cost option with no-frills packaging), each film is presented in pristine or near-pristine condition, ripe for first-time viewing or nostalgic rediscovery by vintage film buffs everywhere.--Jeff Shannon

Destry Rides Again

Marlene Dietrich purrs through sexy songs, and Jimmy Stewart succumbs to her sultry, androgynous ways in this seminal Western with more than a touch of comedy. He plays your average nice guy who turns out to have something special up his sleeve when confronted by a gang of bad guys. He tames the banditos and wins dance-hall girl Dietrich's heart with his nonviolent ways. You may think you have seen this before, and most likely you have. Based on the 1930 novel by Max Brand, the plot has been copied repeatedly. However, this atmospheric 1939 delight stands far above its imitators. This is the movie in which Dietrich, wearing full saloon-gal regalia, sings, "See What the Boys in the Back Room Will Have." It was remade with Audie Murphy in 1954 as Destry, but that version lacks the charisma provided by Stewart and Dietrich. --Rochelle O'Gorman

My Man Godfrey - Criterion Collection

Director Gregory La Cava deftly balances satire, romance, and social comment in this 1936 classic, which echoes Frank Capra in its Depression-era subtext. The Bullocks are a well-heeled, harebrained Manhattan family genetically engineered for screwball collisions: father Alexander (Eugene Pallette, of the foghorn voice and thick-knit eyebrows) is the breadwinner at wit's end, thanks to his spoiled daughters, the sultry Cornelia (Gail Patrick) and the sweet but scatterbrained Irene (a luminous Carole Lombard), his dizzy and doting wife, Angelica (Alice Brady), and her "protégé," Italian freeloader Carlo (Mischa Auer). When Irene wins a society scavenger hunt (and atypically trumps her scheming sister) by producing a "lost man," a seeming tramp named Godfrey (William Powell), all their lives are transformed. With the always suave, effortlessly funny Powell in the title role, this mystery man provides the film's conscience and its model of decency; the giddy, passionate Lombard holds out its model for triumphant love. In a movie riddled with memorable comic highlights, the real miracle is the unapologetic romanticism that prevails. --Sam Sutherland

The definitive screwball comedy, My Man Godfrey follows the madcap antics of a wealthy and eccentric family when they hire a down-and-out "forgotten man" as their butler. My Man Godfrey features brilliant performances by Carole Lombard and William Powell, and was the first film to receive Academy Award® nominations in all four acting categories.

And Then There Were None

At first glance, René Clair might seem an odd match for Agatha Christie's mystery thriller Ten Little Indians, but his buoyant touch is exactly what is missing from so many overly solemn remakes. Ten strangers gather for a mysterious gathering on a secluded island. It turns out to be a farewell party, for they all have been sentenced to die for crimes in their past by a self-appointed judge, jury, and executioner who may be one of them. One by one, the guests are systematically dispatched in the manner described in the lyrics of the children's rhyme "Ten Little Indians," while the survivors nervously eye one another, splintering into tenuous alliances until the next murder throws suspicion on someone new. The terrific cast of character actors has a ball with Dudley Nichols's witty script. The flamboyant sparring of Barry Fitzgerald (whose paternal Irish lilt takes a sinister dimension) and Walter Huston is almost upstaged by Roland Young's deadpan drollery. Romantic leads Louis Hayward and June Duprez come off as arch and stiff in august company that includes a sinisterly detached Judith Anderson, a dotty and distracted C. Aubrey Smith, and a hilariously flippant Mischa Auer. The story has been remade numerous times under the title of Christie's novel, Ten Little Indians, but never as well. Clair's effervescent, lively little gem is a fatal drawing-room comedy with a body count and a surreal mood of doom. --Sean Axmaker

This is it! Agatha Christie's famous mystery, "Ten Little Indians," deftly brought to the screen by legendary French director Rene Clair in this restored original screen masterwork. Ten strangers are invited as weekend guests to a mansion on a remote island. When the host doesn't show up, the guests start dying, one by one, in uniquely macabre Agatha Christie-style. A brilliant cast lead by Academy Award-winning actors Barry Fitzgerald and Walter Huston.

My Man Godfrey [Remastered] 1936

The Complete Mr. Arkadin (aka Confidential Report) - Criterion Collection

American smuggler Guy van Stratten decides to investigate the mysterious Mr. Arkadin (Orson Welles) after hearing about the wealthy man from a prison cellmate. Van Stratten befriends Arkadin's daughter Raina but Arkadin himself claims amnesia about his own life sending van Stratten off to investigate his past. The search spans many countries and characters but the real purpose of the mission is not what it seems. Orson Welles's elusive film presented in three different versions.System Requirements:Running Time 105 Mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: NR UPC: 037429207727 Manufacturer No: ARK010

Something of a remake of Citizen Kane, Orson Welles's 1955 Mr. Arkadin is a knowing and self-reflective variation on one of Welles's pet themes: the search for a defining secret of a powerful man. Welles plays an important financier who tries to discover his own past by hiring a man (Robert Arden) to research it. Did the seemingly haunted Arkadin simply forget who he is or where he's been? Or is he seeking his own Rosebud--a crucial, lost thing from his life that can serve (if identified) as a mythic key to former happiness? The film, a European coproduction, was made under the typically difficult and extended conditions Welles had to navigate after leaving Hollywood, and the bumpiness shows. But the entire project is really an act of Wellesian deconstruction--it's Welles making a film about the kind of film Orson Welles previously made--and that approach is more electrifying than one might imagine. The editing in this film, for instance, is not quite like in any of Welles's other works, with bursts of linear action literally disappearing between frames, as if the fabric of reality itself was vanishing. As far as the titan Arkadin is concerned, it might as well be. --Tom Keogh

Will the "real" Mr. Arkadin please stand up? Probably not. However, thanks to the folks at the Criterion Collection, we may now have a version of Mr. Arkadin that is as close as it's going to get to Orson Welles's original vision. Part Citizen Kane, part The Third Man, Mr. Arkadin is another Wellesian Post-War Noir tale about the unraveling of the defining secret of a powerful and wealthy tycoon. Welles plays the ruthless financier Mr. Arkadin who hires small time smuggler Guy Van Stratten (Robert Arden) to investigate the amnesiac Arkadin's lost past and create a confidential report of his findings. Did the mysterious and elusive Mr. Arkadin simply want his criminal past uncovered? Or is his motive to erase a key missing piece of his past? As many fans know, the story of Mr. Arkadin's post-production and ascertaining which of the many versions is the most "Wellesian" is almost as mysterious as Guy Van Stratten's search for Gregory Arkadin's identity. Since the film is unfinished it does have an incomplete feel to it. For instance, it is very choppy with a few awkward jump cuts, there are lots of annoying overdubs that are not cleanly matched, the supporting cast is fairly weak and some scenes clearly needed to be reshot. However, the gems of the films are so precious, such as Welles's picturesque shots, unique camera angles, flashback story telling, and intricate plot, it's easy to overlook the shortcomings and classify Mr. Arkadin as essential Orson Welles.

Mr. Arkadin may have been written, directed and starred Orson Welles, but it sure wasn't edited by him. So the story goes, since it took Welles too long to complete the editing process, producer Louis Dolivet banned him from the editing room and never allowed Orson to get the final cut. Welles, who was known to say "All of the eloquence of my film is created in the editing room" disowned the film claiming it was the most butchered of all his works. There were many cuts made of the Mr. Arkadin film stock over the years, none of which are considered "definitive", all of which contain pieces to the overall puzzle. Fueled by their passion for film, along comes the Criterion Collection. Their mission, to take all the pieces of Mr. Arkadin's troubled past (the best available versions of the films, documented timelines, a reprinted version of the novel, scholarly documentaries and feature length commentaries), compile it and present it to fans in one incredibly comprehensive set letting them decide which is the real Arkadin. The Complete Mr. Arkadin (A.K.A. Confidential Report) includes digitally restored transfers of the two well known versions of the film (the flashback "Corinth" (99 minutes) version and the notorious linear "Confidential Report" (98 minutes)). In addition, there is a newly edited "comprehensive" version (105 minutes) pieced together by top Welles scholars who have an intimate understanding of his style, his creative direction, and thought process in the editing room. This new "comprehensive" version is the crown jewel of the set and without a doubt the best version of Mr. Arkadin ever released. While no one will ever know what Welles intended, you can't help but feel this comprehensive version has got to be pretty darn close. Inevitably, purists may feel this is another instance of someone mucking with Welles's film stock, but in all honesty, the end result is stunning. So who is the real Mr. Arkadin? No one may ever know, but with the help of this set you have all you need to piece together the puzzle and draw your own conclusion. Enjoy. --Rob Bracco

Laurel and Hardy Triple Feature

BOGUS BANDITS: OLLIE and STAN play Ollio and Stanlio, a pair of incompetent bandits who are hired as Menservants to Fra Diavolo (The Devils Brother), a real bandit played by Dennis King Who, in his other guise, is known as the Marquis de San Marco an aris