Edwards, James

The Manchurian Candidate (Special Edition)

You will never find a more chillingly suspenseful, perversely funny, or viciously satirical political thriller than The Manchurian Candidate, based on the novel by Richard Condon (author of Winter Kills). The film, withheld from distribution by star Frank Sinatra for almost a quarter century after President Kennedy's assassination, has lost none of its potency over time. Former infantryman Bennet Marco (Sinatra) is haunted by nightmares about his platoon having been captured and brainwashed in Korea. The indecipherable dreams seem to center on Sergeant Raymond Shaw (Laurence Harvey), a decorated war hero but a cold fish of a man whose own mother (Angela Lansbury, in one of the all-time great dragon-lady roles) describes him as looking like his head is "always about to come to a point." Mrs. Bates has nothing on Lansbury's character, the manipulative queen behind her second husband, Senator John Iselin (James Gregory), a notoriously McCarthyesque demagogue. --Jim Emerson

Eerie, shocking, daring, thrilling and mesmerizing, The Manchurian Candidate will leave youbreathless (People)! Featuring an all-star cast, including Angela Lansbury in an OscarÂ(r)-nominated performance, this chilling and controversial (Leonard Maltin) film may be the most sophisticated political satire ever made (Pauline Kael). When a platoon of Korean War G.I.s iscaptured, they somehow end up at a ladies garden club party. Or do they? Major Bennett Marco (Frank Sinatra) can't remember. As he searches for the answer, he discovers threads of a diabolical plot orchestrated by the utterly ruthless Mrs. Iselin (Lansbury) and involving her war hero son (LaurenceHarvey), her senator husband (James Gregory) and a secret cabal of enemy leaders.

Patton

A critically acclaimed film that won a total of eight 1970 Academy Awards (Including Best Picture) Patton is a riveting portrait of one of the 20th century's greatest military geniuses. One of it's Oscars went to George Patton the only Allied general truly feared by the Nazis. Charismatic and Flamboyant Patton designed his own uniforms sported ivory-handled six-shooters and believed he was a warrior in past lives. He outmanuevered Rommel in Africa and after D-Day led his troops in an unstoppable campaign across Europe. But he was rebellious as well insight and poignancy his own volatile personailty was one enemy he could never defeat.System Requirements:Running Time: 336 MinFormat: DVD MOVIE Genre: DRAMA Rating: PG UPC: 024543234692 Manufacturer No: 2233469

One of the greatest screen biographies ever produced, this monumental film runs nearly three hours, won seven Academy Awards, and gave George C. Scott the greatest role of his career. It was released in 1970 when protest against the Vietnam War still raged at home and abroad, and many critics and moviegoers struggled to reconcile current events with the movie's glorification of Gen. George S. Patton as a crazy-brave genius of World War II.

How could a movie so huge in scope and so fascinated by its subject be considered an anti-war film? The simple truth is that it's not--Patton is less about World War II than about the rise and fall of a man whose life was literally defined by war, and who felt lost and lonely without the grand-scale pursuit of an enemy. George C. Scott embodies his role so fully, so convincingly, that we can't help but be drawn to and fascinated by Patton as a man who is simultaneously bound for hell and glory. The film's opening monologue alone is a masterful display of acting and character analysis, and everything that follows is sheer brilliance on the part of Scott and director Franklin J. Schaffner.

Filmed on an epic scale at literally dozens of European locations, Patton does not embrace war as a noble pursuit, nor does it deny the reality of war as a breeding ground for heroes. Through the awesome achievement of Scott's performance and the film's grand ambition, Patton shows all the complexities of a man who accepted his role in life and (like Scott) played it to the hilt. --Jeff Shannon

Patton

One of the greatest screen biographies ever produced, this monumental film runs nearly three hours, won seven Academy Awards, and gave George C. Scott the greatest role of his career. It was released in 1970 when protest against the Vietnam War still raged at home and abroad, and many critics and moviegoers struggled to reconcile current events with the movie's glorification of Gen. George S. Patton as a crazy-brave genius of World War II.

How could a movie so huge in scope and so fascinated by its subject be considered an anti-war film? The simple truth is that it's not--Patton is less about World War II than about the rise and fall of a man whose life was literally defined by war, and who felt lost and lonely without the grand-scale pursuit of an enemy. George C. Scott embodies his role so fully, so convincingly, that we can't help but be drawn to and fascinated by Patton as a man who is simultaneously bound for hell and glory. The film's opening monologue alone is a masterful display of acting and character analysis, and everything that follows is sheer brilliance on the part of Scott and director Franklin J. Schaffner.

Filmed on an epic scale at literally dozens of European locations, Patton does not embrace war as a noble pursuit, nor does it deny the reality of war as a breeding ground for heroes. Through the awesome achievement of Scott's performance and the film's grand ambition, Patton shows all the complexities of a man who accepted his role in life and (like Scott) played it to the hilt. --Jeff Shannon

The Killing

Stanley Kubrick's third feature, and first screen classic, is one of the great crime films of the 1950s. The Killing was written in collaboration with Jim Thompson, who penned pulp novels like The Grifters, The Killer Inside Me, and Pop. 1280, all of which were made into classic films. This time writing directly for the screen, Thompson joined with Kubrick to concoct a story about a desperate gang of lowlifes led by a grim, determined Sterling Hayden. Together they devise and execute a complex racetrack robbery, but inner tensions and the iron fist of fate work against them. The cast is uniformly superb, with Hayden, Jay C. Flippen, Timothy Carey, Marie Windsor, and Elisha Cook Jr. fleshing out characters torn between grandiose ambition and petty desire. Cinematographer Lucian Ballard fashions distorted, starkly lit interiors that reflect the psychological tensions of the characters. He and Kubrick also create one of the most memorably ironic final sequences in film history.

The Killing is a perfect introduction to the art and joys of film noir, and its bizarre narrative structure has been copied many times since. For a terrific double feature, see it with John Huston's The Asphalt Jungle, another noir masterpiece featuring Hayden; or Paths of Glory, Kubrick's next picture, again cowritten with Thompson; or even Jackie Brown, in which Quentin Tarantino pays homage to the ways this film leaps around in time. More commercial than some of Kubrick's later work, The Killing remains a tour de force by one of the world's finest filmmakers. --Raphael Shargel

When ex-con Johnny Clay (Sterling Hayden) says he has a plan to make a killing, everybody wants to be in on the action. Especially when the plan is to steal $2 million in a racetrack robbery scheme in which "no one will get hurt." But despite all their careful plotting, Clay and his men have overlooked one thing: Sherry Peatty (Marie Windsor), a money-hungry, double-crossing dame who's planning to make a financial killing of her own...even if she has to wipe out Clay's entire gang to do it! Directed in a revolutionary story-telling technique by the legendary Stanley Kubrick, The Killing is tough, taut, tense and one of the greatest crime thrillers ever made!

Frank Sinatra MGM Movie Legends Collection (The Manchurian Candidate / Guys and Dolls / The Pride and the Passion / A Hole in the Head / Kings Go Forth)

Five Sinatra movies are boxed in this set, culled from his biggest era as movie star. There are no Rat Pack movies here, nor the early croonings of the bobby-soxer's dreamboat, rather a look at how Sinatra chose to spend his most powerful years as a box-office draw. There's just one bona fide classic in the bunch, The Manchurian Candidate, although Guys and Dolls is an awfully fun picture. Not many extra features for this box, although Manchurian Candidate has the good supporting stuff from its regular disc.

1962's Manchurian Candidate, directed by John Frankenheimer from a crackerjack novel by Richard Condon, is simply one of the essential American films of the 1960s, and a gnawing cry of discontent that sounds more clearly with each passing year. Sinatra and Laurence Harvey are ex-Korean War POWs with a shared nightmare, but only Harvey has a purpose: he's a lethal political weapon. Frankenheimer's direction is brilliant, capturing the feel of the early TV age, and the film is blackly, weirdly funny. Sinatra gives maybe his greatest performance, but Angela Lansbury nearly steals the movie as Harvey's mother.

Guys and Dolls (1955) is adapted from one of the finest of Broadway musicals, so you can understand why director Joseph Mankiewicz (All About Eve) fell in love with the Damon Runyon characters and the stylized milieu of sharpies and dames. Sinatra makes perfect sense as Nathan Detroit, and Vivian Blaine repeats her show-stopping stage role as Adelaide, but Mankiewicz perversely cast two non-singers in the leads: Marlon Brando as high-roller Sky Masterson, and Jean Simmons as Salvation Army lass Sarah Brown. Neither is a belter, but they do bring something gentle to their roles. The whole thing is overdone, but the marvelous music holds up.

The Pride and the Passion (1957) puts Sinatra in one of his most embarrassing roles, a Spanish fighter in the age of Napoleon, shepherding a giant cannon with the help of a British military man (Cary Grant). The boys share a mistress, Sophia Loren. This madness was directed by Stanley Kramer, who somehow let Sinatra do a Spanish accent, complete with rolled "r"s. Amazingly, it was one of the ten biggest grossing films of its year.

An even odder curio is Delmer Daves's Kings Go Forth (1958), with Sinatra and Tony Curtis as WWII soldiers competing for the attention of Natalie Wood, who has a secret that will affect the way they see her. It comes from Hollywood's era of "topic" movies, but simply doesn't gain much traction--the only character not Representing Something is Sinatra's tender portrait of a soldier at loose ends.

Finally, Frank Capra's A Hole in the Head (1959) gives Sinatra the kind of lovable rogue part he could knock off without breaking a sweat. He's a Miami widower with a son and some big dreams… you might even call them "high hopes." Yes, that Oscar-winning song comes from this movie, with Frankie and child star Eddie Hodges providing the vocals. If the movie isn't quite a Capra classic (he'd been out of film for a few years before this, and would make only one more feature after it), it fits neatly into the "family film" format. There goes another rubber-tree plant…. --Robert Horton

Disc 1: Guys and Dolls WS Disc 2: Hole In The Head WS Disc 3: Kings Go Forth P&S Disc 4: The Manchurian Candidate WS Disc 5: The Pride and Passion WS

Coogan's Bluff

Men in War

Film Noir Classic Collection, Vol. 1 (The Asphalt Jungle / Gun Crazy / Murder My Sweet / Out of the Past / The Set-Up)

Asphalt Jungle (1950)- You have a lot of time to think when you're locked away seven years. So criminal mastermind Doc conceives what he believes is the perfect heist. John Huston explores the feverish grab for the big score and how it unravels in The Asphalt Jungle a renowned tale of dishonor among thieves whose cast includes. Gun Crazy (1949) - When gun fancier Bart Tare sees Annie Laurie Starr's sideshow sharpshooting act he's a dead-bang goner. The two become bank robbers on the run eluding roadblocks and roaring into movie history as one of the benchmark film-noir works. Murder My Sweet (1944)- They say crime doesn't pay. Private detective Philip Marlowe knows better. The fat wad of folding moneywarming his pocket is the kind of thing that keeps him going through thick and thicker as he wades chin deep into a mystery involving a missing necklace and a missing hoodlum's moll named Velma. Murder My Sweet is film at its most noir creating a moody sense moody sense of a world that never plays on the level. Out of the Past (1947)-Everything you want in a film noir you'll find in Out of the Past. A tenacious detective (Robert Mitchum) spinning his wheels to make good. A drop-dead beauty (Jane Greer) up to no good. A moneyed mobster (Kirk Douglas) with a shark's grin. Plus double-crosses and fall guys. Shadowy rooms and bleak souls. The Set-Up (1949)- Boxing Wednesdays. Wrestling on Fridays. Stoker Thompson is on Paradise City's Wednesday card fighting after the main event. He's been 20 years in the game and is sure he's just one punch away from big paydays. But there's one thing Stoker doesn't yet know: his manager wants him to take a dive tonight.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 085393981228

Some boxed sets claim to be definitive, but are haphazardly selected. Not this one. Four of the five titles here can legitimately lay claim to being essentials in the film noir canon, and the fifth, The Set-Up, is a terrific boxing picture with a strong noir atmosphere. If you're a fan of noir--or have no idea what it's all about--this collection is a treat.

Of course, none of these movies were made as "film noir." The term was coined later by French critics to describe the moody, anxious feel of postwar American movies, especially the genre that highlighted duplicitous dames and susceptible men lost in the criminal jungle. Indeed, the title The Asphalt Jungle conveys the edgy urban arena of these pictures. That film is John Huston's masterly 1950 account of a heist, with Sterling Hayden the disenchanted, noirish hero. Joseph H. Lewis's Gun Crazy (1949) is one of the most supercharged (and sexually perverse) of noir films, with John Dall and Peggy Cummins as young criminals in love. Murder, My Sweet (1944) is a straight adaptation of Raymond Chandler's novel Farewell, My Lovely. Amid the film's shadowy chiaroscuro, former musical comedy star Dick Powell makes a career-changing transition as Chandler's private dick, Philip Marlowe. Out of the Past puts Robert Mitchum (perhaps the quintessential noir actor) in trouble with gangster Kirk Douglas, complicated by classic femme fatale Jane Greer. Jacques Tourneur provides the evocative direction. And The Set-Up plays out an ingenious boxing tale in "real time," superbly enacted by (former boxer) Robert Ryan. --Robert Horton

Pork Chop Hill

This gritty, grim Korean war drama presents the grueling ordeal of a platoon charged with taking a hill of no military value during the final days of the war. While diplomats and generals argue over peace negotiations (in an appropriately wordless montage under the opening credits), tough but compassionate Lt. Joe Clemons (Gregory Peck) leads a unit of 135 men up a well-guarded hill while miscommunication--and at times no communication--cuts them off from reinforcements and regimental command. Shot against a bleak, battle-scarred mountain of white dust honeycombed with black trenches, director Lewis Milestone presents the devastating battle as a meaningless sacrifice of hundreds of lives spent in a political game of chicken. Peck leads a terrific cast of young talents and character actors, many of them just starting their respective careers: Rip Torn, Harry Guardino, Martin Landau, Norman Fell, George Peppard, Gavin MacLeod, Bert Remsen, Harry Dean Stanton, plus veteran stalwarts Woody Strode, James Edwards, Robert Blake, and Bob Steele. Milestone had previously directed the pacifist WWI classic All Quiet on the Western Front and the compassionate WWII platoon drama A Walk in the Sun. Pork Chop Hill adds one more antiwar classic to his résumé, the angry power of his drama overcoming the hollow patriotic voice-over (reportedly added by Peck) that concludes the drama. --Sean Axmaker

Lt. Joe Clemons (Gregory Peck) has been given the order: take Pork Chop Hill. If it's taken by the Chinese, US negotiators at the Panmunjom peace conference would lose face with their communist adversariesan unthinkable outcome. And so, Clemons leads his troops into combat, to fight for an objective that they know to be strategically pointless. But they also know that an order is an order and they must take Pork Chop Hillor die tryingso that millions can live in freedom tomorrow for what Clemons and his men will sacrifice today. Based on a true story and featuring an all-star supporting cast, Pork Chop Hill is an exceptional film"grim, rugged, awesome and lastingly impressive" (The New York Times).

Eclipse Series 5 - The First Films of Samuel Fuller (The Baron of Arizona / I Shot Jesse James / The Steel Helmet) (Criterion Collection)

His films have been called raw outrageous sensational and daring. In four decades of directing Samuel Fuller created a legendarily idiosyncratic oeuvre examining U.S. history and mythmaking in westerns film noirs and war epics. And characteristically it all began with a bang: after printing the legend with the elegant B-pictures I Shot Jesse James and The Baron of Arizona he got himself into hot water with the FBI on The Steel Helmet the first American movie to portray the Korean War. These three independent films showed off Fuller's genre diversity gutter wit and subversive force and pointed the way to a controversial career in studio moviemaking.Includes:I Shot Jesse JamesFuller's directorial debut is a psychological western excavating with pathos and humor the tale of Robert Ford the member of Jesse James's gang who shot the famed outlaw in the back.The Baron of ArizonaA devilishly witty Vincent Price plays a nineteenth-century con man who sets out to commit the most epic swindle in U.S. history: to claim himself as the rightful inheritor of Arizona.The Steel HelmetWith its low budget and high ambitions Fuller's snarling Korean War film an examination of race relations as well as a visceral plunge into battle remains one of the director's most discussed and admired works.System Requirements:Running Time: 262 Mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR UPC: 715515025522 Manufacturer No: ECL022DVD