Duvitski, Janine

The New World

The legend of Pocahontas and John Smith receives a luminous and essential retelling by maverick filmmaker Terrence Malick. The facts of Virginia's first white settlers, circa 1607, have been told for eons and fortified by Disney's animated films: explorer Smith (Colin Farrell) and the Native American princess (newcomer Q'orianka Kilcher) bond when the two cultures meet, a flashpoint of curiosity and war lapping interchangeably at the shores of the new continent. Malick, who took a twenty year break between his second and third films (Days of Heaven and The Thin Red Line), is a master of film poetry; the film washes over you, with minimal dialogue (you see characters speak on camera for less than a quarter of the film). The rest of the words are a stream-of-consciousness narration--a technique Malick has used before but never to such degree, creating a movie you feel more than watch. The film's beauty (shot in Virginia by Emmanuel Lubezki) and production design (by Jack Fisk) seems very organic, and in fact, organic is a great label for the movie as a whole, from the dreadful conditions of early Jamestown (it makes you wonder why Englishman would want to live there) to the luminescent love story. Malick is blessed with a cast that includes Wes Studi, August Schellenberg, Christopher Plummer, and Christian Bale (who, curiously, was also in the Disney production). Fourteen-year-old Kilcher, the soul of the film, is an amazing find, and Farrell, so often tagged as the next big thing, delivers his first exceptional performance since his stunning debut in Tigerland. James Horner provides a fine score, but is overshadowed by a Mozart concerto and a recurring prelude from Wagner's Das Rheingold, a scrumptious weaving of horns fit to fuel the gentle intoxication of this film. Note: the film was initially 150 minutes, and then trimmed to 135 by Malick before the regular theatrical run. It was also the first film shot in 65mm since Kenneth Branagh's Hamlet. --Doug Thomas

In this romantic epic starring Colin Farrell Christian Bale and beautiful newcomer Q'orianka Kilcher acclaimed filmmaker Terrence Malick brings to life the classic true tale of Pocahontas and her relationship with adventurer John Smith set during the turbulent beginnings of America.Running Time: 150 min.Format: DVD MOVIE Genre: DRAMA UPC: 794043102530 Manufacturer No: N10253

Swept from The Sea

Based on the Joseph Conrad story "Amy Foster," this swirlingly romantic melodrama tells the story of a Polish sailor (Vincent Perez) shipwrecked and washed ashore on the English coast in the 19th century. Found by a servant girl, Amy (Rachel Weisz), who is a village outcast, he is considered retarded because no one can understand what he says. But slowly, through Amy's love and the doctor's tutelage, the sailor learns enough English to decide he wants to make an honest woman out of Amy. Which doesn't sit well with the disapproving villagers, who don't like Amy. Even the doctor, who has a fondness for the sailor, has a blind spot when it comes to the servant girl. Strong performances and gritty period settings lift this film above bodice-ripper status to something richer. --Marshall Fine

The Great Train Robbery

All aboard for runaway action and suspense in this riveting masterpiece from writer/director Michael Crichton! Starring Sean Connery Donald Sutherland and Lesley-Anne Down it is a "spine-tingling and suavely performed" adventure (The Hollywood Reporter) based on historys first train robbery. Filmed by Academy Award-winning cinematographer Geoffrey Unsworth this "ingenious" (Variety) and "wonderful" (Gene Shalit) crime caper delivers mile-a-minute thrills and breathtaking excitement. Connery is Edward Pierce a master thief who conceives a brilliant plan to steal a fortune in gold bars from a railroad payroll car. But to pull off the most daring heist in history Pierce must join forces with a safecracker (Sutherland) and his own beautiful girlfriend (Down) in a series of intricately-plotted thefts that will test all of their nerve camaraderie and larcenous skill.Starring: Sean Connery Donald Sutherland and Lesley-Anne DownDirector: Michael CrichtonProduced by John Foreman; written by Michael Crichton; Running time of 111 minutes; closed captioned.Copyright: 1979 United ArtistsSystem Requirements:Widescreen 1.85 aspect ratio Languages: English (Dolby Digital 5.1 Surround) and French (mono) Subtitles: English French and Spanish Theatrical trailer Audio commentary by Michael Crichton Included Trivia Booklet Interactive Menus Video Format: Widescreen (no AR specified) English: Dolby Digital 5.1 Surround French: Dolby Digital Mono Format: DVD MOVIE Genre: DRAMA Rating: PG UPC: 027616714923

Best-selling novelist Michael Crichton had already directed Westworld and Coma when he tackled the ambitious production of The Great Train Robbery in 1978. Adapting his own novel (which was inspired by the facts of the first known train robbery), Crichton sets this attractive, highly enjoyable film in London in 1855, where Edward Pierce (Sean Connery) and Agar (Donald Sutherland) plot to steal £25,000 in gold that is being transported by train to pay British troops in the Crimean War. Lesley-Anne Down plays Miriam, Pierce's sophisticated paramour and the third partner in the scheme; while Pierce and Agar make copies of four keys for the train's closely guarded safes, she uses her feminine wiles to distract a variety of officials and businessmen with connections to the gold.

A lively, humorous caper film of the first order, The Great Train Robbery also boasts a vividly authentic recreation of mid-Victorian England, all the more remarkable since the production was filmed primarily in Ireland on a budget of $6 million--a miraculously modest sum (even in 1978) for such a lavish-looking film. Although Crichton's directorial style seems somewhat detached and bloodless, he maintains a vivid respect for place and time, and his three leads are splendid in their charismatic roles. Meticulous attention to details of costuming and production design enhance the breezy fun of the heist, which climaxes with an exciting sequence on the rushing train, with Connery performing his own stunt work. While the later hit Mission: Impossible would take a similar sequence to its high-tech, high-velocity extreme, The Great Train Robbbery remains an entertaining study of crime in a less hectic age, allowing Crichton to emphasize ingenuity over special effects. --Jeff Shannon

The Young Visiters

This peculiar and delightful BBC movie springs from an equally peculiar and delightful novel written in 1890 by a 9-year-old girl and published with her spelling left uncorrected--hence the title, The Young Visiters. Mr. Alfred Salteena (Jim Broadbent, Topsy-Turvy) falls in love with an ambitious young beauty named Ethel (Lyndsey Marshal, The Hours), who only agrees to visit the clumsy and unctuous Alfred if he introduces her to nobility. Alfred cajoles an invitation from Lord Bernard Clark (Hugh Laurie, Stuart Little), whose own interest in Ethel leads him to send Alfred off for lessons in manners, launching Alfred on his own road to high status. The story's mixture of offhand naivete and precocious insights into class results in something daft, funny, and thoroughly charming. Also featuring a delicious turn by Bill Nighy (Love Actually) as the earl who agrees to "rub up" Alfred. --Bret Fetzer

Academy Award-winner Jim Broadbent stars as Alfred Salteena, 'an elderly man of 42,' who falls in love with young Ethel Monticue at first sight. To impress her, he treats Ethel to a visit at the sumptuous country house of Lord Bernard Clark, the only lord Alf actually knows. Their ensuing adventures in London's colorful high society reveal the young author's alarmingly keen insights into class, the foolishness of adults and the power that young girls have over men.

DVD Features:
Biographies:Cast/Author bio screens
Featurette:Behind-the-scenes featurette

Dracula

Chalk this one up as something that seemed like a good idea at the time. Frank Langella had just taken Broadway by storm in a revival of the play based on Bram Stoker's classic vampire novel. He was tall, elegant, and almost painfully romantic--all qualities that failed to translate to this garish, tarted-up film version. The story remains the same, if told in greater length than in Bela Lugosi's version. The film even offered Laurence Olivier as vampire-hunter Van Helsing (in one of several roles he played during the period that required a middle-European accent) and a young Kate Nelligan as the woman whose love (and blood) Dracula most wants. But director John Badham, working from W.D. Richter's clunky script, makes a hash of most of it, relying on special effects to do the heavy lifting. --Marshall Fine

Vanity Fair (A&E, 1998)

Becky Sharp is "poor and put-upon." She's also "a sharp little minx," a "treacherous little trollop," and "a heartless mother and faithless wife." Yes, there's something about Becky in this impeccable BBC production based on William Makepeace Thackeray's classic novel. It speaks volumes about Thackeray's indomitable heroine and Natasha Little's seductively ingratiating performance that our hearts go out to her even as we eagerly await her comeuppance.

Becky is scorned for her lack of breeding, but as one admirer notes, "she's got pluck." Poised to begin her new job as a governess, Becky's calculated social climbing begins in the home of her friend, the naive Amelia Sedley (Frances Grey), whose father is a wealthy merchant. She immediately makes a play for Amelia's doofus brother, but their budding romance is sabotaged by Amelia's fiancé George Osborne (Tom Ward), an "interfering, officious snob" who doesn't fancy a governess for a sister-in-law. And so it's out into the world, where Becky works her wiles on a gallery of memorable characters, including her lecherous new employer Sir Pitt; his imperious rich sister Miss Crawley (Miriam Margolyes), who takes Becky under her wing; and Pitt's dashing son Rawdon (Nathanial Perker), the first of Becky's misguided sexual entanglements.

Vanity Fair charts in lavish detail Becky's rise in London society and her scandalous downfall. Her story is counterpoint to that of the fair Amelia, who is clueless that her husband is a rake and that his best friend, the loyal, long-suffering Dobbin (Philip Glenistar), is in love with her and is her secret benefactor when times get bad for her bankrupt father. Adapted for the screen by Andrew Davies, who did the honors for the phenomenally successful Pride and Prejudice, Vanity Fair is another addictive miniseries that is the video equivalent of a compulsive page-turner. As yet another fancier remarks, "Well done, Becky Sharp." --Donald Liebenson

Dracula

Chalk this one up as something that seemed like a good idea at the time. Frank Langella had just taken Broadway by storm in a revival of the play based on Bram Stoker's classic vampire novel. He was tall, elegant, and almost painfully romantic--all qualities that failed to translate to this garish, tarted-up film version. The story remains the same, if told in greater length than in Bela Lugosi's version. The film even offered Laurence Olivier as vampire-hunter Van Helsing (in one of several roles he played during the period that required a middle-European accent) and a young Kate Nelligan as the woman whose love (and blood) Dracula most wants. But director John Badham, working from W.D. Richter's clunky script, makes a hash of most of it, relying on special effects to do the heavy lifting. --Marshall Fine

This stylish production of the classic horror tale has Frank Langella repeating his electrifying, award-winning stage performance as the bloodthirsty Count and Laurence Olivier as his arch-nemesis, Van Helsing.

Mike Leigh Collection, Vol. 1 (Abigail's Party / Grown-Ups / Hard Labour)

A three disk collection of Mike Leigh's works (Abigail's Party, Grown Ups, and Hard Labour) in one box set.

Abigail's Party

ABIGAIL'S PARTY features Beverly (Alison Steadman) a bitingly funny hostess of a dainty evening party at which her husband has the ultimate bad taste of having a heart attack on her new living room carpet. Unable to decide which is more important, her dying husband or her new, very expensive, carpet, Abigail must come to terms with where her true priorities lay. One of Mike Leigh's greatest works, ABIGAIL'S PARTY reaches a moment when the unbearable and hopeless fuse to create an explosion of incredible humor and tremendous insight into the state of human affairs.

The New World

The legend of Pocahontas and John Smith receives a luminous and essential retelling by maverick filmmaker Terrence Malick. The facts of Virginia's first white settlers, circa 1607, have been told for eons and fortified by Disney's animated films: explorer Smith (Colin Farrell) and the Native American princess (newcomer Q'orianka Kilcher) bond when the two cultures meet, a flashpoint of curiosity and war lapping interchangeably at the shores of the new continent. Malick, who took a twenty year break between his second and third films (Days of Heaven and The Thin Red Line), is a master of film poetry; the film washes over you, with minimal dialogue (you see characters speak on camera for less than a quarter of the film). The rest of the words are a stream-of-consciousness narration--a technique Malick has used before but never to such degree, creating a movie you feel more than watch. The film's beauty (shot in Virginia by Emmanuel Lubezki) and production design (by Jack Fisk) seems very organic, and in fact, organic is a great label for the movie as a whole, from the dreadful conditions of early Jamestown (it makes you wonder why Englishman would want to live there) to the luminescent love story. Malick is blessed with a cast that includes Wes Studi, August Schellenberg, Christopher Plummer, and Christian Bale (who, curiously, was also in the Disney production). Fourteen-year-old Kilcher, the soul of the film, is an amazing find, and Farrell, so often tagged as the next big thing, delivers his first exceptional performance since his stunning debut in Tigerland. James Horner provides a fine score, but is overshadowed by a Mozart concerto and a recurring prelude from Wagner's Das Rheingold, a scrumptious weaving of horns fit to fuel the gentle intoxication of this film. Note: the film was initially 150 minutes, and then trimmed to 135 by Malick before the regular theatrical run. It was also the first film shot in 65mm since Kenneth Branagh's Hamlet. --Doug Thomas