Erickson, Leif

On the Waterfront (Special Edition)

Marlon Brando gives one of the screen's most electrifying performances as Best Actor in this 1954 Academy Award® winner for Best Film. Ex-fighter Terry Malloy (Brando) could have been a contender but now toils for boss Johnny Friendly (Lee J. Cobb) on the gang-ridden waterfront. Terry is guilt-stricken however when he lures a rebellious worker to his death. But it takes the love of Edie Doyle (Eva Marie Saint) the dead man's sister to show Terry how low he has fallen. When his crooked brother Charley the Gent (Rod Steiger) is brutally murdered for refusing to kill him Terry battles to crush Friendly's underworld empire. Directed by Elia Kazan (A Streetcar Named Desire) and written by Budd Schulberg (What Makes Sammy Run?) this unforgettable drama about Terry's redemption is among the most acclaimed of all films.System Requirements: Running Time 107 Min Genre: DRAMA Rating: NR UPC: 043396784093 Manufacturer No: 78409

Marlon Brando's famous "I coulda been a contenda" speech is such a warhorse by now that a lot of people probably feel they've seen this picture already, even if they haven't. And many of those who have seen it may have forgotten how flat-out thrilling it is. For all its great dramatic and cinematic qualities, and its fiery social criticism, Elia Kazan's On the Waterfront is also one of the most gripping melodramas of political corruption and individual heroism ever made in the United States, a five-star gut-grabber. Shot on location around the docks of Hoboken, New Jersey, in the mid-1950s, it tells the fact-based story of a longshoreman (Brando's Terry Malloy) who is blackballed and savagely beaten for informing against the mobsters who have taken over his union and sold it out to the bosses. (Karl Malden has a more conventional stalwart-hero role, as an idealistic priest who nurtures Terry's pangs of conscience.) Lee J. Cobb, who created the role of Willy Loman in Death of Salesman under Kazan's direction on Broadway, makes a formidable foe as a greedy union leader. --David Chute

Show Boat

The show that first defined the Broadway musical has never come to the screen intact, despite three tries. But take this splashy 1951 MGM extravaganza on its own terms, and it boggles the eyes. Not to mention the ears: The Kern-Hammerstein score includes some staples of the American songbook, such as "Make Believe," "After the Ball," and "Can't Help Lovin' That Man." Perhaps a riverboat gambler is almost too-easy casting for Howard Keel, and Kathryn Grayson is overly twittery, which may be why the film's middle sags when they take center stage. But any time the uncannily beautiful Ava Gardner smolders, a lush tragic undertone takes over (even if the most interesting parts of her story seem to take place offscreen). The physical production is extraordinary: the busy riverside setting, the outrageous color design, and best of all an "Old Man River" (sung by William Warfield) staged in the mists of morning. -- Robert Horton

Invaders from Mars (Special Edition)

A young boy is awakened during a storm to witness a flying saucer land in the field behind his home. No one will believe his story as one by one the townspeople are captured and put under the control of sinister forces from the planet Mars! Brilliantly created by visionary set designer and director William Cameron Menzies (designer of "Gone with the Wind" and H.G. Wells' "Things to Come") with a haunting musical score by Raoul Kraushaar this golden age sci-fi classic has lost none of its chilling power. Surreal imagery brought to terrifying life in a Cinecolor world just beyond our nightmares!Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating: NR UPC: 014381136227 Manufacturer No: ID1362CODVD

The cold-war paranoia of the McCarthy era had America in its grip when the original Invaders from Mars was released in 1953, and this atmospheric, highly influential science fiction film--the first of its kind to be filmed in color--was perfectly in tune with the mood of its time. Jimmy Hunt plays the quintessential American boy of the post-war years--a freckle-faced kid named David who's curious, alert, and possibly prone to elaborate flights of fancy. Then, during a midnight thunderstorm, he witnesses the landing of a flying saucer that buries itself underground in a nearby field. David's father (Leif Erickson) indulges his son's urging to investigate... and thus begins a bizarre and chilling story of alien invasion, with David's cries of "Martians!" falling on deaf ears as more and more adults are abducted, probed, and placed under alien control.

Designed and directed by William Cameron Menzies (one of the greatest production designers of Hollywood's golden age, whose credits include Gone with the Wind), this eerie little thriller benefits from Menzies's skill at combining physical settings with psychological undercurrents of paranoid terror and resistance against the alien threat. It's still most effective for younger viewers, with Jimmy Hunt providing the story's youthful point of view. And although the malevolent aliens look campy now, with a leader who resembles a bubble-brained squid in a fishbowl, Invaders from Mars remains one of the seminal science fiction films of its time, paving the way for The War of the Worlds and the rapidly developing trend of alien-invasion thrillers. --Jeff Shannon

Gary Cooper - The Signature Collection (Sergeant York / The Fountainhead / Dallas / Springfield Rifle / The Wreck of the Mary Deare)

Collection of 5 of the stoic one's best films from the Warner Bros. library.Format: DVD MOVIE Genre: DRAMA UPC: 012569829930 Manufacturer No: 82993

Springfield Rifle, one of five films included in this set, may miss the bullseye as a true Gary Cooper classic, but there's a line that speaks to his enduring status as a screen icon and "American Legend." In this 1952 Western, his follow-up film to High Noon, Cooper's character has been drummed out of the army and branded a coward. Suffice to say that all is not what it seems, and an observer is asked how Coop will handle the pressure. The response: "He'll stand up." That is quintessential Cooper. He's a stand-up guy, and the "dang swangest hero," as he is hailed in Sergeant York, this collection's calling card. Directed by Howard Hawks and co-written by John Huston, Sergeant York earned Cooper an Academy Award for Best Actor for his portrayal of Alvin York, a Tennessee mountain hellraiser who finds religion after surviving a lightning strike. His newfound pacifist beliefs are put to the supreme test when he is forced to enlist in WWI. Cooper also displays the (Frank Lloyd) Wright stuff as architect Harold Roark in The Fountainhead (1949), adapted for the screen by Ayn Rand from her towering and controversial bestselling novel about a "fool visionary" who refuses to compromise his principles or conform his work to popular taste. The Wreck of the Mary Deare (1959), his penultimate film, finds Cooper desperately trying to clear his name before an inquiry determines what really happened aboard the mysteriously abandoned eponymous ship. Costar Charlton Heston gives him a run for Most Piercing Blue Eyes honors. Last, and least, but still entertaining, is Dallas (1950), in which Cooper stars as a Confederate outlaw who impersonates a sheriff to settle an old score. Cooper is not the most chameleon-esque of actors, but in these representative films, he displays intriguing shadings to his heroic persona. Roark in The Fountainhead has a definite dark side, while his "Reb" Hollister in Dallas is something of a rascal.

Of the DVD presentations, Sergeant York gets the two-disc "Special Edition" treatment, with dry, but informative commentary by film historian Jeanne Basinger, a made-for-cable TV special about Cooper hosted by Clint Eastwood, and a welcome Warner Bros. cartoon, Tex Avery's "Porky's Preview" and short subject, "Lions for Sale," that replicate an old fashioned night out at the movies. The Fountainhead DVD includes a featurette about the making of the film. Cooper stands alone among Hollywood's leading men, but beyond his formidable presence, classic film buffs will bask in the nostalgic pleasures of Max Steiner's music in four of the five films, and appearances by great character actors (Walter Brennan and George Tobias in Sergeant York, a young Richard Harris in Mary Deare). --Donald Liebenson

Alfred Hitchcock Presents - Season Three

Roustabout

The Elvis formula was well in place by the time of 1964's Roustabout: a passel of undistinguished songs (anyone remember "Poison Ivy League"?), pretty girls, tight pants, a colorful setting, and a little bit of karate to prove that Elvis really had been studying his martial arts. With that understood, Roustabout is a better-than-average workout for the King--not as peppy as Viva Las Vegas, but a good deal livelier than the sleepwalking It Happened at the World's Fair. Elvis plays a bad-boy singer roaming the highways on his Japanese motorcycle; laid up after an accident, he joins a carnival owned by the feisty Barbara Stanwyck. ("This is not a circus, it's a carnival. There's a big difference.") The cast goes from high to low: both giant-sized future James Bond villain Richard Kiel and tiny Billy Barty are carny regulars, and Raquel Welch has a small role in the opening scene. Teri Garr is one of the carnival dancers behind Elvis. The legendary costume designer Edith Head puts Elvis in a series of snappy windbreakers, but thank goodness he's also in black leather a lot. As if that weren't enough to recommend it, the movie has a sequence involving Elvis riding a cycle inside the "Wall of Death," a huge wooden cylinder with high walls. This bit actually inspired an entire Irish film in 1986, Eat the Peach, in which friends build a similar contraption after they watch Roustabout on tape. --Robert Horton

Sorry, Wrong Number

Barbara Stanwyck and Burt Lancaster star in Sorry, Wrong Number, an odd telephonic thriller that starts off with a bang. Stanwyck, playing a shrill invalid, is at home alone and phoning around to find her husband. Thanks to a crossed wire, she overhears a murder plot, but she can barely get anyone to pay attention to her, let alone believe her. The rest of the film is played out in telephone conversations and flashbacks as our increasingly frightened heroine tries to find her husband and unravel the murder. Stanwyck, as always, gives a terrific performance, managing to make her character both unlikeable and compelling at the same time. Lancaster, as her kept husband, is handsome, virile, and trapped all at once. The plot, expanded to a film from a tight, dark little radio play, wanders at times but gathers itself back together for a corker of an ending. --Ali Davis

The Snake Pit

Virginia Cunningham (de havilland) appeared to have had an idyllic life - a nice home, a loving husband and prospects for a sriting career. But, something just wasn't right. Confusion, doubts about her husband's love, even violent outbursts led Virginia to be confined in a mental institution. She is put through a series of brutal treatments, including being forced into close quarters with patients whose disorders far exceed her own. The belief - the shock of the experience will return her to sanity.

Strait-Jacket

Poor Joan Crawford just can't get a break. She hacks her husband to pieces and is sent away to a mental hospital; then after she comes back and tries to adjust to a normal life, there's more ax-swinging and more noggins rolling. Her pretty sculptress daughter (Diane Baker) just wants Mom to return to society and a happy, well-adjusted life... or does she? The plot is a little trite and predictable, the direction a bit staid, but it's all Joan's show anyway. Obviously director William Castle told her to play up her character's insanity, and Crawford turns the knob on the acting meter up to 10, then breaks it off and throws it away. She spectacularly mugs her way through the whole film, abruptly changing from severe schoolmarm to trampy vamp and back again several times. The scene where Mom meets her daughter's fiancée for the first time is particularly memorable; Mom guzzles half an iced-tea glass full of bourbon, then crawls all over the boyfriend while the viewer squirms uncomfortably. Back in '64, lucky moviegoers were given little cardboard axes when this feature made its run in the theaters. Sadly, the cardboard axes are long gone, but this is still highly recommended for fans of Crawford, Castle, and high-powered thespianism in general. --Jerry Renshaw

Arabian Nights (Universal Cinema Classics)

Lavish sets and costumes distinguish this story of two brothers competing for the throne of Turkey and the hand of the fiery dancing girl Scheherazade. A colorful escapist Technicolor fantasy and the first pairing of Hall and Montez. Academy Award Nominations: 4.System Requirements:Running Time: 87 MinutesFormat: DVD MOVIE Genre: TELEVISION/CLASSIC Rating: NR UPC: 025192419720 Manufacturer No: 61024197

Warning: Technicolor silliness ahead, as Universal's nutty series of turban-and-camel movies comes into view. Arabian Nights was the first of these confections, and after it became a big wartime hit it spawned a series of follow-ups, most of them starring some combination of Maria Montez, Jon Hall, Sabu, and Turhan Bey. The story is nonsense, with Hall as a deposed caliph battling his half-brother (Leif Erickson) while remaining incognito amongst a group of traveling players. Montez plays dancing vixen Scheherazade, and her crazy costumes and limited acting range give ample evidence for her later enshrinement as a camp icon. The film's level of seriousness is aptly demonstrated by the casting of Shemp Howard (of the Three Stooges--like there's another Shemp Howard?) as Sinbad; John Qualen plays Aladdin, and vaudeville pro Billy Gilbert plays the leader of the troupe. Coming off best is Sabu, the young star of The Thief of Baghdad and The Jungle Book, whose innate likability is infectious even in these inane circumstances. Arabian Nights probably isn't the most fun of these movies; check out Ali Baba and the Forty Thieves and Robert Siodmak's crazed Cobra Woman, too. They work on two fronts: family-movie fodder and high camp. --Robert Horton