Kirk Douglas

The Man From Snowy River

A conventional boy-and-his-horse story set against the red rocks of remote Australian mountains. (If there's a wide-screen edition, grab it. The scenery is one of the movie's strongest features.) Tom Burlinson is Jim Craig, a young man left stranded after his father's death who is struggling to save the family farm. He proves his manhood during a hair-raising hunt over the wooded slopes in search of an escaped stallion. The great, grizzled, Australian character actor Jack Thompson (the idealistic lawyer in Breaker Morant) is the tough, older horseman who takes the lad under his wing. The director, George Miller (not to be confused with the action-master who made the Mad Max films) allows costar Kirk Douglas to mug and grimace and prance far too much in a duel role as a pair of lovable old coots who hate each other's guts. Luckily, one of the coots has a handsome daughter (Sigrid Thornton, an Elizabeth McGovern-type with grit), who also has a way with horses. So it isn't all rocks and pine trees. --David Chute

With its unforgettably heroic story, its stunning cinematography, and acting performances that are uniformly excellent, THE MAN FROM SNOWY RIVER is one thrilling adventure you won't want to miss. Set during the 1880's, when the Australian frontier was as wild and dangerous as the American West, the film follows the exploits of a handsome youth (Tom Burlinson) who sets out to tame a wild herd of horses. Taking on a challenge many men had attempted before him, he rides deep into the treacherous and untamed wilderness of his native timberlands where boys become men fast - or die trying. Featuring Kirk Douglas in a remakable dual role and highlighted by a climactic chase involving 40 horsemen and 90 wild stallioins thundering across snow-covered peaks, THE MAN FROM SNOWY RIVER is destined to become a legendary film!

In Harm's Way

Otto Preminger's sprawling World War II drama packs a lot into its 165 minutes, beginning with the attack on Pearl Harbor (which Preminger re-creates in amazing detail) and ending a couple of years later with America's return to the South Pacific in force. John Wayne and Kirk Douglas star as a career naval captain and his self-pitying commander in the peacetime navy who are thrust into battle when Pearl Harbor is bombed while they are on maneuvers. Minutes into WWII, they are already scapegoated and demoted by the embarrassed military brass. Wayne romances a WAVE nurse (Patricia Neal) and attempts a reconciliation with his estranged, spoiled son (Brandon de Wilde) while Douglas sinks into the bottle after the death of his cheating wife until the American fleet rebuilds and calls upon Wayne to lead one of the initial invasion forces. Henry Fonda makes a brief but commanding appearance as the fleet admiral. Burgess Meredith is a former writer turned witty commander, Dana Andrews a showy but indecisive admiral, and Stanley Holloway a genial Australian scout working with the American invasion forces. Tom Tryon and Paula Prentiss play newlyweds torn apart by the war, and also appearing are Franchot Tone, Carroll O'Conner, Slim Pickens, George Kennedy, Bruce Cabot, and Larry Hagman, among many, many more. Loyal Griggs's handsome black-and-white photography is topped only by Saul Bass's impressive closing credits sequence, a rising cascade of crashing waves and rough surf reportedly paced to mirror the dramatic rhythm of the film. --Sean Axmaker

Epic study on the bombing of Pearl Harbor and the effect it had on so many relationships.
No Track Information Available
Media Type: DVD
Artist: WAYNE/DOUGLAS/NEAL/TRYON/PRENT
Title: IN HARM'S WAY
Street Release Date: 05/22/2001
Domestic
Genre: ACTION / ADVENTURE

The Final Countdown (Widescreen Edition)

With a tantalizing "what-if?" scenario and a respectable cast of Hollywood veterans, The Final Countdown plays like a grand-scale episode of The Twilight Zone. It's really no more than that, and time-travel movies have grown far more sophisticated since this popular 1980 release, but there's still some life remaining in the movie's basic premise: What if a modern-era Navy aircraft carrier--in this case the real-life nuclear-powered U.S.S. Nimitz--was caught in an anomalous storm and thrust 40 years backwards in time to the eve of Japan's attack on Pearl Harbor? Will the ship's commander (Kirk Douglas) interfere with history? Will the visiting systems analyst (Martin Sheen) convince him not to? Will a rescued senator from 1941 (Charles Durning) play an unexpected role in the future of American politics? Veteran TV director Don Taylor doesn't do much with the ideas posed by this potentially intriguing plot; he seems more interested in satisfying aviation buffs with loving footage of F-14 "Jolly Roger" fighter jets, made possible by the Navy's generous cooperation. That makes The Final Countdown a better Navy film than a full-fledged time-travel fantasy, but there's a nice little twist at the end, and the plot holes are easy to ignore. James Cameron would've done it better, but this popcorn thriller makes an enjoyable double-bill with The Philadelphia Experiment. --Jeff Shannon

20,000 Leagues Under The Sea (Special Edition)

The swashbuckler genre bumped into science fiction in 1954 for one of Hollywood's great entertainments. The Jules Verne story of adventure under the sea was Walt Disney's magnificent debut into live-action films. A professor (Paul Lukas) seeks the truth about a legendary sea monster in the years just after the Civil War. When his ship is sunk, he, his aide (Peter Lorre), and a harpoon master (Kirk Douglas) survive to discover that the monster is actually a metal submarine run by Captain Nemo (James Mason). Along with the rollicking adventure, it's fun to see the future technology that Verne dreamed up in his novel, including diving equipment and sea farming. The film's physical prowess is anchored by the Nautilus, an impressive full-scale gothic submarine complete with red carpet and pipe organ. In the era of big sets, 20,000 Leagues set a precedent for films shot on the water and deservedly won Oscars for art direction and special effects. Lost in the inventiveness of the film and great set pieces including a giant squid attack are two great performances. Mason is the perfect Nemo, taut and private, clothed in dark fabric that counters the Technicolor dreamboat that is the beaming red-and-white-stripe-shirted Kirk Douglas as the heroic Ned Land. The film works as peerless family adventure nearly half a century later. --Doug Thomas

Climb aboard the Nautilus ... and into a strange undersea world of spellbinding adventure! Kirk Douglas, Paul Lukas, and Peter Lorre star as shipwrecked survivors taken captive by the mysterious Captain Nemo, brilliantly portrayed by James Mason. Wavering between genius and madness, Nemo has launched a deadly crusade across the seven seas. But can the captive crew expose his evil plan before he destroys the world? Disney's brilliant Academy Award(R)-winning (1955, Best Art Direction and Best Special Effects) adaptation of Jules Verne's gripping tale makes 20,000 LEAGUES UNDER THE SEA a truly mesmerizing masterpiece!

Paths of Glory

Stanley Kubrick had already made his talent known with the outstanding racetrack heist thriller The Killing, but it was the 1957 antiwar masterpiece Paths of Glory that catapulted Kubrick to international acclaim. Based on the novel by Humphrey Cobb, the film was initiated by Kirk Douglas, who chose the young Kubrick to direct what would become one of the most powerful films about the wasteful insanity of warfare. In one of his finest roles, Douglas plays Colonel Dax, commander of a battle-worn regiment of the French army along the western front during World War I. Held in their trenches under the threat of German artillery, the regiment is ordered on a suicidal mission to capture an enemy stronghold. When the mission inevitably fails, French generals order the selection of three soldiers to be tried and executed on the charge of cowardice. Dax is appointed as defense attorney for the chosen scapegoats, and what follows is a travesty of justice that has remained relevant and powerful for decades. In the wake of some of the most authentic and devastating battle sequences ever filmed, Kubrick brilliantly explores the political machinations and selfish personal ambitions that result in battlefield slaughter and senseless executions. The film is unflinching in its condemnation of war and the self-indulgence of military leaders who orchestrate the deaths of thousands from the comfort of their luxurious headquarters. For many years, Paths of Glory was banned in France as a slanderous attack on French honor, but it's clear that Kubrick's intense drama is aimed at all nations and all men. Though it touches on themes of courage and loyalty in the context of warfare, the film is specifically about the historical realities of World War I, but its impact and artistic achievement remain timeless and universal. --Jeff Shannon

Safe in their picturesque chateau behind the front lines, the French general staff passes down a direct order to Colonel Dax (Kirk Douglas): take the Ant Hill at any cost. A blatant suicide mission, the attack is doomed to failure. Covering up their fatal blunder, the generals order the arrest of three innocent soldiers, charging them with cowardice and mutiny. Dax, a lawyer in civilian life, rises to the men's defense but soon realizes that, unless he can prove that the generals were to blame,nothing less than a miracle will save his clients from the firing squad. A compelling masterpiece from world-class director/writer Stanley Kubrick and screenwriters Calder Willingham and JimThompson, Paths of Glory is a blistering indictment of military politics and "an unforgettable movie experience" (Newsweek).

Spartacus

Stanley Kubrick was only 31 years old when Kirk Douglas (star of Kubrick's classic Paths of Glory) recruited the young director to pilot this epic saga, in which the rebellious slave Spartacus (played by Douglas) leads a freedom revolt against the decadent Roman Empire. Kubrick would later disown the film because it was not a personal project--he was merely a director-for-hire--but Spartacus remains one of the best of Hollywood's grand historical epics. With an intelligent screenplay by then-blacklisted writer Dalton Trumbo (from a novel by Howard Fast), its message of moral integrity and courageous conviction is still quite powerful, and the all-star cast (including Charles Laughton in full toga) is full of entertaining surprises. Fully restored in 1991 to include scenes deleted from the original 1960 release, the full-length Spartacus is a grand-scale cinematic marvel, offering some of the most awesome battles ever filmed and a central performance by Douglas that's as sensitively emotional as it is intensely heroic. Jean Simmons plays the slave woman who becomes Spartacus's wife, and Peter Ustinov steals the show with his frequently hilarious, Oscar-winning performance as a slave trader who shamelessly curries favor with his Roman superiors. The restored version also includes a formerly deleted bathhouse scene in which Laurence Olivier plays a bisexual Roman senator (with restored dialogue dubbed by Anthony Hopkins) who gets hot and bothered over a slave servant played by Tony Curtis. These and other restored scenes expand the film to just over three hours in length. Despite some forgivable lulls, this is a rousing and substantial drama that grabs and holds your attention. Breaking tradition with sophisticated themes and a downbeat (yet eminently noble) conclusion, Spartacus is a thinking person's epic, rising above mere spectacle with a story as impressive as its widescreen action and Oscar-winning sets. --Jeff Shannon

The War Wagon

John Wayne and Kirk Douglas make a delightful duo in this comedic Western in which Wayne seeks revenge on a ruthless mine owner (Bruce Cabot) who had him framed and sent to prison. Upon his release, Wayne recruits Douglas in a scheme to raid and rob one of Cabot's gold-laden wagons, despite the fact that Douglas had been offered good money to kill Wayne. He joins Wayne instead (the potential profits being much greater), and they set out to ambush the War Wagon, so named because it's heavily armored, mounted with a Gatling gun, and guarded by a dozen gunmen on horses. Costarring Keenan Wynn and Howard Keel as a wise-cracking Indian, The War Wagon was a Western precursor to the action buddy films of the 1980s and '90s, serving up plenty of exciting action and constant comic relief. The interplay between Wayne and Douglas is sharp and sarcastic, and their motley crew of accomplices provides yet another source of character-driven humor. Not one of the greatest Westerns ever made, but certainly one of the most lightly entertaining. --Jeff Shannon

Seven Days in May

John Frankenheimer's follow-up to The Manchurian Candidate is as intimate and subdued as its predecessor is flamboyant and energetic. Burt Lancaster is calm and calculating as the steely-eyed military hawk General Scott, who opposes the president's (Fredric March) plan to end the cold war with a bold nuclear disarmament plan. Lancaster's longtime friend and frequent costar Kirk Douglas is his smiling, joking right-hand man, Colonel "Jiggs" Casey, whose easygoing manner is jolted by evidence of a possible plot to overthrow the American government. Scripted by Rod Serling from the novel by Fletcher Knebel and Charles W. Bailey, the film plays much like a classic live TV drama (the medium that spawned both Frankenheimer and Serling), with the drama arising from conversations and confrontations and the action largely limited to scenes within the Pentagon and the White House. An ominous undercurrent of danger seeps through the realistic (and often real) settings of the film, conveyed chiefly through the intensity of the excellent ensemble performances. Notable among the supporting cast are Ava Gardner as a lonely Washington socialite who was once the general's mistress, Edmond O'Brien as an amiable alcoholic senator, Martin Balsam as the president's shrewd but skeptical secretary, and underrated character actor George Macready as the wily presidential advisor. --Sean Axmaker

The Villain

This curiosity from the mid-1970s is breathtaking in its dreadfulness. Directed by Hal Needham, this was an attempt at creating a Roadrunner cartoon with live actors--except that instead of a live actor they got Arnold Schwarzenegger, before Hollywood smoothed his rough edges (and his Austrian accent). He plays the invulnerable sheriff who rides blithely through life, unaware that the evil Kirk Douglas wants to kill him and kidnap his squeeze, Ann-Margret. The stunts are cartoony without being funny and Schwarzenegger shows exactly why he was known as "the Austrian Oak." Douglas works extra hard but effort alone isn't enough to elevate this script. --Marshall Fine

The Vikings

Kirk Douglas produced the trendsetting barbarian epic The Vikings and took the showiest, most aggressive role: lusty Viking prince Einar, the "only son in wedlock" of King Ragnar (a cackling, wild-eyed Ernest Borgnine). With jagged scars down his face and a milky-white blind eye that almost glows in his skull, Douglas has a rowdy time battling defiant slave Tony Curtis (the long-lost heir to the British throne) for the hand of the beautiful princess Janet Leigh. It's pure Hollywood hokum, sure, but spectacular hokum: the great cinematographer Jack Cardiff turns his Norway locations into a lush Valhalla on earth. Faced with an absurd story, journeyman director Richard Fleischer goes for the gusto in brawling Viking parties, furious sieges, and clanging broadsword battles. An enormous hit, the film spawned a huge wave of Viking movies, some perhaps smarter but none as much fun. --Sean Axmaker

Hollywood legends Kirk Douglas, Tony Curtis, Ernest Borgnine and Janet Leigh dazzle in this epic chronicle of brutal rivalry and bloodthirsty ambition. Roaring through the 9th century with powerful performances and "brilliant visual drama" (Cue), The Vikings is a riveting "spectacle of have-at-'em action" (Los Angeles Examiner)! Bitter hatred divides two brothers. Prince Einar (Douglas) is the son and heir of a savage Viking chieftain. Prince Eric (Curtis) is his unknowing half-brother, the bastard offspring of Einar's father and an English queen. When the Vikings kidnap a princess (Leigh), her beauty inflames the desires of both men, forcing a bloody duel thatdecides their fate and the future of the English throne.