Huston, Walter

Fox Horror Classics Collection, Vol. 2 (Dragonwyck / Chandu the Magician / Dr. Renault's Secret)

Disk 1: Chandu the Magician **Commentary by Author Gregory William Mank **Masters of Magic: The World of Chandu **Chandu the Magician Radio Serial Episode **Restoration Comparison **Trailer **Still Gallery

Disc 2: Dr. Renault's Secret **By The Book: Horror, Suspense, and Literary Inspiration **Restoration Comparison **Trailer **Interactive Pressbook **Still Gallery

Disc 3: Dragonwyck **A House of Secrets: Exploring Dragonwyck **Dragonwyck Radio Show Performed by Vincent Price and Gene **Tierney - October 7, 1946 **Restoration Comparison **Trailer **Interactive Pressbook **Still Gallery

Episode Description: Disc 1: Chandu the Magician (1932) Disc 2: Dr. Renault's Secret (1942) Disc 3: Dragonwyck (1946)

Duel in the Sun

Legendary producer David O. Selznick dreamed of another magnum opus like his 1939 production of Gone with the Wind; he also purposed to make Jennifer Jones, his ladylove and eventually second Mrs. Selznick, a megastar. Accordingly, he micromanaged the making of Duel in the Sun (Lust in the Dust to some), an extravagant Technicolor epic about the collision of the old West with the new, wide-open spaces with railroads and barbed wire, and hot-blooded outlaws with civilized folk, often wimpy or unwell. Beginning among giant rocks drenched in a blood-red sunset, with velvet-voiced Orson Welles intoning the leibestod legend of doomed Pearl Chavez and her demon lover, Duel never strays far from lush romanticism, spiced with a dash of S/M. Orphaned Pearl (Jones) comes to live at Spanish Bit Ranch, where frail Laura Belle McCanles (Lillian Gish) tries to make a lady of her, despite her questionable origins and insistent voluptuousness. Sexual license versus law--Pearl's choices--are symbolized by the McCanles brothers: dark, undisciplined Lewt (a lubriciously wicked Gregory Peck) and reasonable, forward-looking, repressed Jesse (Joseph Cotten). The cast is huge (Lionel Barrymore, Walter Huston, Harry Carey, Herbert Marshall, Charles Bickford, Butterfly McQueen) and there are unforgettable set pieces: summoned by a cacophony of bells, the gathering of McCanles cowboys from the four corners of the earth; Pearl in heat, clutching Lewt's leg and being dragged across the floor as he makes his getaway to Mexico; and the lovers' final shootout among those red rocks, as orgiastic a finale as you could ask for. --Kathleen Murphy

From the acclaimed producer of Gone With the Wind comes a torrid tale of passion and romance that s loaded with all the sweep and panache of a giant American action movie (The New Yorker)! Flawlessly cast (The Film Daily) with a bevy of film legends including Jennifer Jones Gregory Peck Joseph Cotten Lionel Barrymore and Lillian Gish this salacious saga is virtually impossible not to love (The Hollywood Reporter)!When her father is hanged for murdering his wife the stunning beauty Pearl (Jones) is taken in by a wealthy Texan his wife and their two grown sons (Peck and Cotten). But Pearl soon becomes trapped in an emotional tug-of-war between her love for one son and her lust for the other igniting the most tempestuous triangle the West has ever seen!System Requirements: Running Time 146 MinFormat: DVD MOVIE Genre: WESTERN/MISC. Rating: NR UPC: 027616905741 Manufacturer No: 1006373

The Treasure of the Sierra Madre (Two-Disc Special Edition)

John Huston won the Academy Award(R) for writing and directing this powerful saga that pits gold and greed in the wilds of Mexico and stars his father (Walter Huston) and Humphrey Bogart. Year: 1948 Director: John Huston Starring: Humphrey Bogart Walter Huston Tim HoltRunning Time: 126 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569581623 Manufacturer No: 65816

Ranked at No. 30 on the American Film Institute's list of the 100 all-time greatest American films, The Treasure of the Sierra Madre is a genuine masterpiece that was, ironically, a box-office failure when released in 1948. At that time audiences didn't accept Humphrey Bogart in a role that was intentionally unappealing, but time has proven this to be one of Bogart's very best performances. It's a grand adventure and a superior character study built around the timeless themes of greed and moral corruption. As adapted by writer-director John Huston (from a novel by enigmatic author B. Traven) it became a definitive treatment of fate and futility in the obsessive pursuit of wealth. Bogart plays Fred C. Dobbs, a down-and-out wage-worker in Mexico who stakes his meager earnings on a gold-prospecting expedition to the Sierra mountains. He's joined by a grizzled old prospector (Walter Huston, the director's father) and a young, no-nonsense partner (Tim Holt), and when they strike a rich vein of gold, the movie becomes an observant study of wretched human behavior. Bogart is fiercely intense as his character grows increasingly paranoid and violent; Huston offers a compelling contrast as a weathered miner who's seen how gold can turn men into monsters.

From its lively opening scenes (featuring young Robert Blake as a boy selling lottery tickets) to its final, devastating image of fateful irony, The Treasure of the Sierra Madre tells an unforgettable story of tragedy and truth. With dialogue that has been etched into the cultural consciousness (who can forget the Mexican bandit who snarls "I don't have to show you any stinking badges!") and well-earned Oscars for John and Walter Huston, this is an American classic that still packs a punch. --Jeff Shannon

And Then There Were None

At first glance, René Clair might seem an odd match for Agatha Christie's mystery thriller Ten Little Indians, but his buoyant touch is exactly what is missing from so many overly solemn remakes. Ten strangers gather for a mysterious gathering on a secluded island. It turns out to be a farewell party, for they all have been sentenced to die for crimes in their past by a self-appointed judge, jury, and executioner who may be one of them. One by one, the guests are systematically dispatched in the manner described in the lyrics of the children's rhyme "Ten Little Indians," while the survivors nervously eye one another, splintering into tenuous alliances until the next murder throws suspicion on someone new. The terrific cast of character actors has a ball with Dudley Nichols's witty script. The flamboyant sparring of Barry Fitzgerald (whose paternal Irish lilt takes a sinister dimension) and Walter Huston is almost upstaged by Roland Young's deadpan drollery. Romantic leads Louis Hayward and June Duprez come off as arch and stiff in august company that includes a sinisterly detached Judith Anderson, a dotty and distracted C. Aubrey Smith, and a hilariously flippant Mischa Auer. The story has been remade numerous times under the title of Christie's novel, Ten Little Indians, but never as well. Clair's effervescent, lively little gem is a fatal drawing-room comedy with a body count and a surreal mood of doom. --Sean Axmaker

Ten people, strangers to each other, are invited to a lavish estate on an island. Through a recording, their mysterious host accuses each of his `guests' of murder and proceeds to exact `justice'. The tension mounts as, one by one, the number of people are reduced through the ingenious plotting of the unseen killer. Finally only two are left and each is uncertain as to weather or not the other is the murderer. A top cast of veteran performers bring the intricate twist of the plot to life. One of the most thrilling novels, climaxes at the spine tingling conclusion. Match wits with the script as you watch a thriller that has carved its own special niche in the realm of tales of suspense and mystery. Released by 20th Century Fox. Bonus Features: Bonus Classic Comedy Two-Reeler starring Leon Errol, Scene Selection, Actor Bios, Narrative track for the blind. Specs: DVD5; Dolby Digital Mono; 97 minutes; B&W; 1.33:1 Aspect Ratio; MPAA - NR; Year -1945.

The Furies - Criterion Collection

Seconds into Anthony Mann's hardboiled horse opera, Barbara Stanwyck absent-mindedly plays with a pair of scissors. Not to worry: she'll put them to use soon enough. Until that time, Stanwyck's volatile heiress, Vance, alternately flatters and manipulates her egotistical father, T.C. Jeffords (a feisty Walter Huston in his final performance). It's the 1870s and T.C.'s ranch, the Furies, inspires envy throughout the New Mexico territory. If Vance picks a suitable husband, T.C. promises her a handsome dowry. Unfortunately, she chooses brutal gambler Rip Darrow (Rear Window's Wendell Corey). If it wasn't for Vance's friendship with Mexican-American squatter Juan (Gilbert Roland), she wouldn't inspire much sympathy, but Vance stands up for the Herreras when financiers pressure the Jeffords to throw them off their land. Then, T.C. takes up with scheming socialite Flo (Rebecca's Dame Judith Anderson), and the tense relations between father and daughter explode into all-out war. By the end, those scissors end up in someone's face, leading to a cycle of revenge-oriented violence. Adapted from Niven Busch's novel by Red River's Charles Schnee, The Furies isn't as deliriously over-the-top as Busch's Duel in the Sun, but it plays more like Shakespearean tragedy than Technicolor camp, and Stanwyck owns the screen from start to finish. The excellent extras include erudite commentary from film historian Jim Kitses, a terrific 1967 interview with Mann for British TV, a playful 1931 chat with Huston, remembrances from Mann's daughter Nina, an essay from critic Robin Wood, and a new printing of Busch's original novel. --Kathleen C. Fennessy

Barbara Stanwyck and Walter Huston are at their fierce finest in master Hollywood craftsman Anthony Mann's crackling western melodrama. In 1870s New Mexico Territory megalomaniacal widowed ranch-owner T. C. Jeffords (Huston in his final role) butts heads with his daughter Vance (Stanwyck) a firebrand with serious daddy issues over her dowry choice of marriage and finally ownership of the land itself. Both sophisticated in its view of frontier settlement and ablaze with searing domestic drama The Furies is a hidden treasure of American filmmaking boasting Oscar®-nominated cinematography and vivid supporting turns from Judith Anderson Wendell Corey and Gilbert Roland.SPECIAL EDITION FEATURES:New restored high-definition digital transferAudio commentary featuring film historian Jim Kitses (Horizons West)A rare 1931 on-camera interview with Walter Huston made for the movie theater series Intimate InterviewsNew video interview with Nina Mann daughter of director Anthony MannStills gallery of rare behind-the-scenes photosTheatrical trailerPLUS: A booklet featuring a new essay by critic Robin Wood a 1957 Cahiers du cinema interview with Mann and a new printing of Niven Busch's original novelMore!System Requirements:Running Time: 109 minutesFormat: DVD MOVIE Genre: WESTERN/COWBOYS Rating: NR UPC: 715515030229 Manufacturer No: CC1755DDVD

The Jazz Singer (Three-Disc Deluxe Edition)

It's one of the most famous titles in film history, and everybody knows why: in a handful of sequences in The Jazz Singer, sound and image are excitingly synchronized. By 1927, some short subjects had already been "talkies," and a few features had synchronized music, but The Jazz Singer gets the prize as the breakthrough. Because the film is largely without dialogue, you can--even watching the film today--almost palpably sense the shift in movie epochs, as cinema takes an evolutionary leap from one form to the next. The movie itself, based on a successful Broadway show by Samson Raphaelson, is strictly melodrama of an ancient kind. Young Jakie Rabinowitz is expected to follow in the long line of family Cantors, but his heart yearns to sing "Toot Toot, Tootsie" instead of "Kol Nidre." Al Jolson plays Jakie (later Jack Robin of footlights fame), and you get a taste of why he was widely considered the greatest entertainer of his time; watch him with a tearjerker such as "Dirty Hands, Dirty Face" and you'll see the skillful, completely irony-free manipulations of a master storyteller. Equally fun is Jolson's non-singing patter--in fact, this is where you get the thrill of talking pictures, more so than the songs. "You ain't heard nuthin' yet," he burbles, and it's hard not to catch the excitement.

Jolson's numbers include his blackface act, a longstanding tradition of minstrel shows and music halls, and an unavoidable source of awkwardness for later viewers (see The Savages for an amusing account of the embarrassment this can cause). Blackface is a bizarre show business reality, and it's part of the movie, so some historical context is required.

Warner Bros. rightly considers The Jazz Singer a key moment in the studio's history, and this three-disc DVD package gives the deluxe treatment. The film itself is beautifully restored, and reproductions of original supporting materials (souvenir program, stills, ads) are fun. A booklet on early Vitaphone shorts clearly predates The Jazz Singer, for Jolson is mentioned only as a star of Vitaphone shorts, and George Jessel is tabbed as the future star of The Jazz Singer (he'd played Jakie on Broadway). A 90-minute documentary gives a fine account of how the Vitaphone system worked, and how other systems actually became the industry standard.

Supplemental short films are a true treasure trove. A Plantation Act is more Jolson blackface, Hollywood Handicap a studio short comedy directed by Buster Keaton, and I Love to Singa a hilarious 1936 Tex Avery cartoon--a spoof of The Jazz Singer starring a bird named Owl Jolson. A flabbergasting collection of Vitagraph shorts--over four hours' worth--makes up disc 3 of this set: utterly weird and wonderful performances by some of the strangest acts ever to kill vaudeville. There are a few names here: George Burns and Gracie Allen in a short called Lambchops, the Foy Family doing wacky stage business. But the cornball timed jokes of Shaw & Lee, the saucy songs of Trixie Friganza, not to mention "The Wizard of the Mandolin," Bernardo De Pace--these are gems, folks. Anyone with a taste for showbiz past will love them. --Robert Horton

The first feature film to utilize Synchronous Sound. The story is about Cantor Oland's son who goes into show business over his objections. Tunes include "Mammy" "Toot Toot Tootsie" and more. Academy Award Nominations: 2 including Best Adapted Writing. Academy Awards: Special Award for technical achievement.Format: DVD MOVIE Genre: MUSICALS/MUSICALS Rating: NR UPC: 012569798892 Manufacturer No: 79889

Katharine Hepburn Collection (Morning Glory / Undercurrent / Sylvia Scarlett / Without Love / Dragon Seed / The Corn Is Green [1979])

Six films from screen icon Katharine Hepburn are featured on this collection. The titles included are: THE CORN IS GREEN DRAGON SEED MORNING GLORY SYLVIA SCARLETT UNDERCURRENT and WITHOUT LOVE.System Requirements:Running Time: 496 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 085391137047 Manufacturer No: 113704

Katharine Hepburn fans--and let's face it, who isn't one?--will be delighted by The Katharine Hepburn 100th Anniversary Collection. It showcases juicy, sometimes overlooked roles played by the winsome Hepburn both early and later in her career. The set includes 1933's Morning Glory, for which Hepburn won her first Best Actress Oscar, playing a determined young actress who just knows she's going to make a splash on the stage, and not fade like, well, a morning glory. The early screwball-era tempo is infectious, and young Kate, though insecure and--Lord help us all--skinny, beats the odds as she forges ahead in her career. Her rapid-fire delivery rivals that in another underrated Hepburn classic, Desk Set. Up next is Undercurrent, a gripping film noir that's slow in starting, but gets under the viewer's skin. Hepburn plays against type as an Ashley Judd-style gal-in-peril (or is she?), with a menacing husband (Robert Taylor) and a brother-in-law (Robert Mitchum) whom she may not be able to trust.

Sylvia Scarlett is a George Cukor-directed gem costarring Cary Grant, though Hepburn and Grant are most decidedly not in wacky Bringing Up Baby mode. The film wasn't well received when it was released in 1935, but it's a revelation now, for its daring homosexual subtexts--quite apparent to the modern viewer--and for Grant's against-type dark persona. Without Love, from 1945, is one of the first films to team Hepburn with Spencer Tracy, and yes, their onscreen chemistry is palpable. The conceit is one they would go on to use successfully time and again--plucky single woman resigned to living solo; rumpled, affable, slightly clueless bachelor who only needs to be shown just how much in love with our heroine he is. The supporting cast includes a terrifically cast Lucille Ball and Gloria Grahame.

Dragon Seed (1944) is an honorable misfire, an earnest period drama about the Japanese invasion of China. Through 21st-century eyes, Hepburn's impersonation of an Asian woman isn't great casting, and yet, Hepburn's honest, clear-eyed portrayal saves it from caricature. The Corn Is Green, a TV film from 1979, is an excellent counterbalance to all the brash, dewy-eyed roles in the rest of the set. Hepburn reteams with director Cukor for what is both a showcase for the diva's mighty talent, and yet also a completely even-handed ensemble piece, about a teacher's dedication in a small Welsh village.

Extras are plentiful on this already-packed disc, and include public-service and other shorts compiled by Warner Bros. that provide a window into mid-20th-century life. The short "Traffic with the Devil" (from the MGM Theatre of Life series) showcases the musings of a traffic cop, the real life Sgt. Chuck Reineke, who helps clueless, hapless drivers over what appear to be the wide-open spaces of L.A. highways. As a window to the truly more innocent times in Hollywood, the shorts are priceless. --A.T. Hurley

The Maltese Falcon

Still the tightest, sharpest, and most cynical of Hollywood's official deathless classics, bracingly tough even by post-Tarantino standards. Humphrey Bogart is Dashiell Hammett's definitive private eye, Sam Spade, struggling to keep his hard-boiled cool as the double-crosses pile up around his ankles. The plot, which dances all around the stolen Middle Eastern statuette of the title, is too baroque to try to follow, and it doesn't make a bit of difference. The dialogue, much of it lifted straight from Hammett, is delivered with whip-crack speed and sneering ferocity, as Bogie faces off against Peter Lorre and Sydney Greenstreet, fends off the duplicitous advances of Mary Astor, and roughs up a cringing "gunsel" played by Elisha Cook Jr. It's an action movie of sorts, at least by implication: the characters always seem keyed up, right on the verge of erupting into violence. This is a turning-point picture in several respects: John Huston (The African Queen) made his directorial debut here in 1941, and Bogart, who had mostly played bad guys, was a last-minute substitution for George Raft, who must have been kicking himself for years afterward. This is the role that made Bogart a star and established his trend-setting (and still influential) antihero persona. --David Chute

Sam Spade is caught in a frantic search for the jeweled falcon of Malta and his partner's killer. His pursuit leads him to a group of desperate individuals who also want the bird.