Emhardt, Robert

3:10 to Yuma (Special Edition)

Struggling rancher and family man Van Heflin sneaks captured outlaw Glenn Ford out from under the eyes of his gang and nervously awaits the prison train in this tight, taut Western in the High Noon tradition. Adapted from an Elmore Leonard story, this tense Western thriller is boiled down to its essential elements: a charming and cunning criminal, an initially reluctant hero whose courage and resolution hardens along the way, and a waiting game that pits them in a battle of wills and wits. Glenn Ford practically steals the film in one of his best performances ever: calm, cool, and confident, he's a ruthless killer with polite manners and an honorable streak. Director Delmer Daves (Broken Arrow) sets it all in a harsh, parched frontier of empty landscapes, deserted towns, and dust, creating a brittle quiet that threatens to snap into violence at any moment. --Sean Axmaker

This fine western opens with Van Heflin as a rancher whose family is suffering from the devastatingeffects of a long drought. Heflin needs $200 to build a well then learns he can obtain the money as a reward for delivering Glenn Ford a notorious outlaw now in the hands of the law to the state prison in Yuma Arizona. Though this will put Heflin in great personal danger the peaceful man accepts the assignment knowing what the money will mean to his family. Heflin and Ford hole up in a small hotel in another town while waiting for the train to Yuma. The outlaw begins toying with Heflin's mind talking in a friendly manner about Heflin's job and financial situation. Playing psychologicalgames Ford tries to convince Heflin to take $100000 to look the other way while he escapes. Heflin finds himself in a quandary desperately needing the money yet being bound by his word to carry out the job. Ford's gang led by Jaeckel discovers where their leader is hidden and sets out to rescue him. The town officials abandon Heflin rather than put themselves in danger leaving the troubled rancher alone to face off with the outlaws. Ford ends up assisting Heflin helping his captor on the3:10 to Yuma explaining 'I owed you that.' Heflin has come through the ordeal body and integrityintact and as if in answer to this baptism by fire the skies burst forth with rain putting an end to the drought.System Requirements:Run Time: 92 Mins.Format: DVD MOVIE Genre: WESTERN/MISC. Rating: NR UPC: 043396212251 Manufacturer No: 21225

Change of Habit

Elvis tried something different in his final narrative movie… but the results are oddly similar to his usual '60s formula. Here the King plays a doctor working in an inner-city free clinic, playing host to three Catholic nurses (who are really nuns incognito). Elvis gets hung up on one of the nuns, played by Mary Tyler Moore; she seems a lot closer to The Dick Van Dyke Show than the Vatican. The songs are sparse--"Rubberneckin'" gets a workout in one of those awful stilted hootenannies so prevalent in Elvis pictures. The flower-power ambience is more interesting than the story; the film features Mod Squad-style attempts at racial politics, a sit-down protest, and a weird sequence involving "rage reduction" to cure an autistic child. Elvis has good scenes and indifferent ones, but he looks fantastic (this is just after the great "comeback"), and he dresses like no other doctor before or since. --Robert Horton

Lawman

Burt Lancaster is excellent as the title character, a pitiless, unbending marshal out to arrest seven cowhands who left a dead man in the wake of a drunken tear, in this stoic, modern take on a classic Western theme. He confronts a rancher baron, trigger-happy gunmen, and the cowardly hypocrites of a frontier town: the usual bunch of Old West types sculpted into intriguing character by a crack cast. Robert Ryan brings a sad dignity to his former gunfighter tamed into a meek town marshal, and Lee J. Cobb is introspective and thoughtful as the aging cattleman weary of his life of violence: "It took guns to take this land, guns to keep it, and guns to make it grow.... Each time we bury the cost." Robert Duvall, Albert Salmi, and a young Richard Jordan (as an idealistic cowpoke whose sense of honor gets a workout in the complex conflicts) also star.

The first American feature by British director Michael Winner (who went on to make numerous tough Charles Bronson pictures, including the first three Death Wish movies) is lean and tough, with a streak of "passing of an era" melancholia, but surprisingly old-fashioned. The hard-edged, unsentimental violence, arid, austere look of the picture, and distracting overuse of zoom shots mark it as an unmistakable product of the early 1970s, but it's not so much cynical as sorrowful in its clash of ideals, and never less than clear-eyed in the presentation of harsh frontier realities. --Sean Axmaker

Burt Lancaster is an uncompromising lawman who defies the odds when he single-handedly confronts a gang of killers in this "extraordinarily perceptive" (Films & Filming) and action-packed taleof life and justice on the American frontier. When Sabbath town-boss Vincent Bronson (Cobb) and his drunken ranch hands unwittingly kill an old man in Bannack, everyone knows it was an accident. Everyone, that is, except Bannack's marshal, Jered Maddox (Lancaster). A tough, no-nonsense manof the law, Maddox is determined to bring the killers to justice. Trailing them back to Sabbath, Maddox makes his intentions clear: "I'm gonna take these men back with me," he vows, "or kill them where they stand." So when Bronson sends word that he wants to make a deal, the inflexible Maddox refuses, a decision that forces Bronson's men to let their guns do the talking. But Jered Maddox is not aman to back down...he'll bring these desperate killers back to Bannack, his way. Dead or alive.

3:10 to Yuma

Struggling rancher and family man Van Heflin sneaks captured outlaw Glenn Ford out from under the eyes of his gang and nervously awaits the prison train in this tight, taut Western in the High Noon tradition. Adapted from an Elmore Leonard story, this tense Western thriller is boiled down to its essential elements: a charming and cunning criminal, an initially reluctant hero whose courage and resolution hardens along the way, and a waiting game that pits them in a battle of wills and wits. Glenn Ford practically steals the film in one of his best performances ever: calm, cool, and confident, he's a ruthless killer with polite manners and an honorable streak. Director Delmer Daves (Broken Arrow) sets it all in a harsh, parched frontier of empty landscapes, deserted towns, and dust, creating a brittle quiet that threatens to snap into violence at any moment. --Sean Axmaker

Kid Galahad

Elvis Presley tries on boxing gloves for Kid Galahad, one of his post-Army pictures that still has some fresh air and innocence in it. First spotted crooning from the back of a pickup truck, Elvis plays an ex-G.I. newly returned to his foresty birthplace, where shifty Gig Young runs a boxing camp. Naturally the kid turns out to have talent with the gloves, and a gamblers/mobsters/boxing formula soon kicks in. Meanwhile, Elvis turns his attention to Joan Blackman (from Blue Hawaii) and Young resists making an honest woman of girlfriend Lola Albright. Charles Bronson, who didn't get on well with Elvis, has a hefty role as an incorruptible trainer. The songs squeezed in around this are humdrum, and even the best ones can't accurately be described as rock & roll. Director Phil Karlson, a dab hand at action films (The Phenix City Story), gets some savagery into the fight scenes, and the early location work has a nice breezy feel. As for Presley himself, the early signs of stupor are beginning to be apparent; after the enjoyable opening reel he lacks the old spirit, looking understandably unengaged by the material or his co-stars. --Robert Horton

Immortal heartthrob Elvis Presley stars as Walter Gulick, an ex-G.I. who returns to his rustic hometown in upstate New York looking for work as an auto mechanic. Ambitious but naïve, he's reluctantlyroped into becoming a boxer by dubious manager-turned-innkeeper Willy Grogan (Oscar(r)-winner Gig Young, 'They Shoot Horses, Don't They,' 1969 Best Supporting Actor). With his loyal trainer Lew Nyack (screen legend Charles Bronson) at his side, the iron-jawed, anvil-fisted Elvis quickly becomes the top-drawing champion "Kid Galahad." But when the mob tries to muscle in on the action, the cool-headed fighter is forced to pull no punches in the ultimate bout to protect his honor and his dreams. Themesmerizing voice of Elvis, a romantic soundtrack, and breathtaking scenery makes this popular musical remake a knockout hit for the entire family.

Rascal

If man's best friend is a dog, get ready to meet man's funniest friend -- he's four pounds of sheer delight and one of the best scene stealers to ever upstage an actor! RASCAL tells the story of a boy (Billy Mumy) and his rescued pet raccoon, an animal whose talent for causing loads of mischief is equaled only by his power to trigger tons of laughter! Featuring superb performances by an all-star cast and spectacular lush scenery ... this is family entertainment at its finest!

The Intruder (Special Edition)

Roger Corman's 196l The Intruder has a very young William Shatner as Adam Cramer, a traveling spokesman for the Patrick Henry Society. He blows into a small town (filmed on location in Sikeston, Missouri) that's in the throes of school integration and whips the local populace into a froth of race hatred with a speech on the town-hall steps. Cramer supplies his own undoing, however, when he gets a little too greedy and goes after a salesman's wife and a local girl. The Intruder has a grainy location-shooting patina, totally in keeping with a Corman five-day-wonder film shoot. Considering Shatner's career, it may be going out on a limb to say that anything is "his sleaziest role ever," but you'd be hard-pressed to ever find him playing a character more despicable than the oily Adam Cramer, wearing a white linen suit and spewing his foul, bigoted diatribe to the townspeople. The cast is rounded out with some very familiar character actors, including Robert Emhardt as Cramer's financier and Leo Gordon as the salesman who sees through Cramer's racist bravado and recognizes him for the spineless coward that he is. According to Corman's autobiography, The Intruder was the only film of his from the period that didn't turn a profit; in fact, on its completion no distributors wanted to handle it, deeming its subject matter too hot. It was rereleased on the drive-in circuit in subsequent years as Shame, the Stranger and under the lurid title I Hate Your Guts. Almost 40 years later, The Intruder is still enough to make the viewer squirm as Shatner revives the town's KKK chapter and manipulates the populace into a black-baiting, Jew-hating rabble. It's a drive-in exploitation film with a conscience, demanding that the viewer confront one of society's nastiest and most divisive issues. --Jerry Renshaw

Arriving in a sleepy Southern town on the eve of integration, slick charismatic Adam Cramer (William Shatner) is an ominous influence, inciting its white citizens into a racial fervor, and plunging the once quiet community into a state of chaos.

Forced Vengeance

Lady Luck has fled Hong Kong's Lucky Dragon Casino. Its manager has squandered the profits. Its owner has been snuffed by the mob. And the heir to the casino is in hiding. But Lucky Dragon still holds one last ace: security expert Josh Randall. Local mobsters should cash in their chips when Chuck Norris plays Randall in Forced Vengeance an alive-and-kicking actionfest directed by James Fargo (who directed Clint Eastwood in The Enforcer and Every Which Way but Loose). Determined to find the syndicate big shot behind the proprietor's death Randall goes on the hunt. Trouble follows. And so does the lightning strike of screen excitement - the kind of martial-arts excitement that only Norris can chop punchshoot leap slam and deliver!Running Time: 91 min.Format: DVD MOVIE Genre: ACTION/ADVENTURE UPC: 012569519022

The Big Knife

After 1952's The Bad and the Beautiful skewered Hollywood with a scathing attempt at self-analysis, The Big Knife (1955) finished the job of exposing the slimy underbelly of the studio system. This high-gloss noir, cynical to the bone and altogether hysterical in its potboiler theatrics, is a deliriously entertaining mid-'50s melodrama, adapted from the play by Clifford Odets (who brought a similar brand of vitriol to Sweet Smell of Success) and starring Jack Palance in a role that transcended his trademark villainy. Palance is quite effective as rising star Charlie Castle, whose continued ascension in Hollywood depends on his willingness to renew a contract with studio bully Stanley Hoff (Rod Steiger), who treats Charlie like an indentured servant and, even worse, has plenty of dirt to hold against Charlie if he doesn't cooperate.

Trapped between stardom and a desperate desire to reconcile with his neglected wife (Ida Lupino), Charlie's facing a no-win scenario, haunted by the indiscretions of his past. Palance's overwrought performance is perfectly keyed to director Robert Aldrich's typically histrionic approach; he's eclipsed only by Steiger, whose Method madness has rarely been as outrageous as this (his character was partially based on studio honcho Jack Warner). Set primarily in the well-appointed den of Charlie's Bel-Air manse, The Big Knife is stagy but stylish, with Charlie's home taking on the appearance of a gilded cage as his predicament intensifies. Add a stellar supporting cast, and you've got film noir at its finest--dark souls baking in the California sun. --Jeff Shannon

Academy Award® winners* Jack Palance, Rod Steiger and Shelley Winters deliver knockout performances in this vicious "poison-pen letter to the movie business" (American Cinematheque)that's an extreme close-up of greed, lust and murder! Hollywood superstar Charlie Castle (Palance) has it all except a way out. When he tries to leave show business, his tyrannical studio boss Stanley Hoff (Steiger) blackmails him with a lethal, covered-up secret that could land him in jail. A loose-lipped starlet (Winters) also knows too much, and when she starts talking, Hoff plans murder. Now Charlie is more cornered than everon the brink of losing his wealth, his power and his soul. *Palance: Supporting Actor, City Slickers (1991); Steiger: Actor, In the Heat of the Night (1967); Winters: Supporting Actress, A Patch of Blue (1965), Supporting Actress, The Diary of Anne Frank (1959)

Suppose They Gave a War and Nobody Came?

Brian Keith Ernest Borgnine Suzanne Pleshette and Tony Curtis head a first-rate cast (Motion Picture Herald) in this sharp amusing (The New York Times) comedy that pits the fed-up brass of an Army base against the fired-up citizens of a nearby town!In an effort to shore up a shaky truce between civilians and base personnel three hapless Army buddies find themselves appointed community public relations officers. Unfortunately Sergeant Shannon Gambroni s (Curtis) idea of community relations includes pursuing and wooing Ramona (Pleshette) a sexy waitress whom Sheriff Harve (Borgnine) considers his personal property. And when ammo and amour finally clash in an outrageous battle royal who will ultimately surrender?System Requirements: Running Time 112 MinFormat: DVD MOVIE Genre: COMEDY Rating: NR UPC: 027616908308 Manufacturer No: 1006669