Hutton, Betty

The Greatest Show on Earth

The Greatest Show on Earth is a heaping helping of flapdoodle served up by one of Hollywood's canniest entertainers: producer-director Cecil B. DeMille. This overripe melodrama purports to be life inside the Ringling Brothers Circus; maybe it's not, but the circus ought to be like this. The actors wrestling with the purple dialogue are: early-career Charlton Heston, as the tough-as-nails circus manager; Cornel Wilde and Betty Hutton as trapeze artistes; and Gloria Grahame (who won an Oscar), dangling from elephants. Best of all, James Stewart plays a clown who--for mysterious reasons--never removes his makeup. (Stewart took the supporting role simply because he'd always wanted to play a clown.) This is a fried-baloney sandwich of a movie: it ain't sophisticated, and probably isn't good for you, but once you start you can't stop. It was the box-office champ of 1952, and it shocked everybody by winning the best picture Oscar. --Robert Horton

Annie Get Your Gun

Never before available on home video and unseen on television since 1973, the 1950 production of Annie Get Your Gun has achieved somewhat legendary status, most notably for who would inherit the role Ethel Merman had made famous on Broadway in 1946. MGM originally cast Judy Garland, but her ongoing drug and alcohol problems led to her being fired and replaced by Betty Hutton. Fortunately, the bright and brassy Hutton sparkles in this highly fictionalized story of Annie Oakley, the sharpshooter who wins fame in Buffalo Bill's Wild West Show and wins the heart of fellow sharpshooter Frank Butler (Howard Keel). Dashing baritone Keel was beginning his career as one of MGM's favorite leading men in the 1950s (including Seven Brides for Seven Brothers and Kiss Me, Kate). Together they make gold of the many Irving Berlin hits--"Doin' What Comes Naturally," "Anything You Can Do," "They Say It's Wonderful," "I Got the Sun in the Morning," and the classic anthem "There's No Business Like Show Business."

Annie Get Your Gun is unquestionably a product of the 1950s. Keel's relentless chauvinism and Hutton's constant fawning over him grow tiresome (though she does stand up to him in a battle of the sexes), and the Indians wear full headdresses and face paint, say "Ugh," and destroy modern conveniences. (In the name of political correctness, the 1999 Broadway revival starring Bernadette Peters removed "I'm an Indian Too" and received its own share of criticism from purists.) Quibbles aside, the excellent cast and immortal score make Annie Get Your Gun a classic musical. It's great to have it back. --David Horiuchi

The Miracle of Morgan's Creek

During World War II, Hollywood's patriotic duty was to shoot stirring dramas and good-hearted comedies that celebrated America's brave soldiers and honored their loyal, virtuous wives and girlfriends. Which goes a long way toward explaining why this delirious Preston Sturges farce, filmed in 1943 at the height of the war effort (and of its director's powers), was delayed for a year while Paramount executives wrestled with Sturges's irreverence: in Morgan's Creek, the writer-director tweaked those stereotypes with his tale of Trudy Kockenlocker, a small-town girl who only wants to send our boys off with a smile. That she does, but she wakes up after an all-night party with vague memories of a dubious wedding and soon finds herself pregnant.

Trudy, played by the ebullient Betty Hutton, is wholesome, sexy, and something of a ditz, in contrast to Sturges's usual savvy heroines (represented instead by Trudy's teenaged younger sister, played by Diana Lynn). Trudy's savior is would-be boyfriend Norval, played to apoplectic perfection by the rubber-faced Eddie Bracken, who was never better than in this wide-eyed, pratfall-happy performance as the weary but loyal draft reject who stands by his girl. As Trudy's father, Sturges regular William Demarest likewise achieves a series of comic peaks as the exasperated and increasingly desperate Officer Kockenlocker.

Like Sturges's other Bracken-Demarest vehicle, the equally fine Hail, the Conquering Hero, The Miracle of Morgan's Creek was unique among wartime movies for its satirical sting and unblinking eye for hypocrisy on the home front. It's also enormous fun, a comedic romp that epitomizes Sturges's kinetic, high-speed style. --Sam Sutherland

After a wild farewell party for the troops, Trudy Kockenlocker, a small-town girl with a soft spot for American soldiers, wakes up to find that she married someone and can't remember his name. Even worse, he's disappeared and she learns she's pregnant!

The Real Las Vegas - The Complete Story

It's a city that's larger than life. A city without limits. A glittering mecca of excess and forbidden desires. Discover the fascinating story of this fabled destination and the people who created it. Tour the

incredible casinos of the world-famous strip and even get tips on how to

beat the odds! The lights of Vegas have never burned as brightly as they do in this exciting, authoritative series.

The Great American Songbook

The people and events that put the music in our lives are celebrated in this lively anthology hosted (and featuring vocals) by Michael Feinstein that traces popular music from its roots in ballads and minstrel shows through the jazz age big bands Broadway and Hollywood. Delight as Fats Waller boogies George Gershwin invents a musical rhapsody Arthur Freed becomes the wizard of oohs and aahs and biopics like "Three Little Words" (Boop-boop-bedoo!) bring lives of famous tunesmiths to the screen. Among some rare performance footage Bessie Smith sings the blues Hoagy Carmichael is touched by "Stardust" Fred and Ginger dance the Depression away and Judy pines for the place beyond the rainbow. It all adds up to one very special musical treat!Running Time: 175 min.Format: DVD MOVIE Genre: DOCUMENTARIES/MISC. UPC: 085393738525

The Great American Songbook is an ambitious documentary that chronicles 100 years of American popular song through film clips and photographs. It stretches from minstrel shows to Elvis, but features most prominently the "Golden Age" songwriters of the 1930s through the 1950s--Jerome Kern, Irving Berlin, the Gershwins, Richard Rodgers with both Lorenz Hart and Oscar Hammerstein, and others. That means you can enjoy some of the most exquisite music of the 20th century including Paul Robeson singing "Old Man River," Fred Astaire and Ginger Rogers dancing "Cheek to Cheek," and Judy Garland's "The Man That Got Away," plus performances of historical importance such as Al Jolson's "Swanee."

Over the course of its three hours (it was cut for PBS broadcast), the program has some drawbacks--performers are identified but films aren't, the performances tend to be almost complete rather than complete, and scenes from fictional films illustrate the earliest historical moments, which doesn't feel true--but they're minor, and Michael Feinstein proves a perfect host, narrating and occasionally singing at the piano. Fans of Feinstein's cabaret shows will also enjoy his commentary track, which provides a lot of interesting and funny background on the songs and songwriters. His commentary isn't constant, but a useful icon allows the viewer to find the next section of commentary with the click of a button. Another slight inconvenience is that chapters are named by subject matter rather than by song title so if you're skimming for highlights you have to know what you're looking for. --David Horiuchi

Stork Club

The Stork Club

Annie Get Your Gun [Region 2]

Never before available on home video and unseen on television since 1973, the 1950 production of Annie Get Your Gun has achieved somewhat legendary status, most notably for who would inherit the role Ethel Merman had made famous on Broadway in 1946. MGM originally cast Judy Garland, but her ongoing drug and alcohol problems led to her being fired and replaced by Betty Hutton. Fortunately, the bright and brassy Hutton sparkles in this highly fictionalized story of Annie Oakley, the sharpshooter who wins fame in Buffalo Bill's Wild West Show and wins the heart of fellow sharpshooter Frank Butler (Howard Keel). Dashing baritone Keel was beginning his career as one of MGM's favorite leading men in the 1950s (including Seven Brides for Seven Brothers and Kiss Me, Kate). Together they make gold of the many Irving Berlin hits--"Doin' What Comes Naturally," "Anything You Can Do," "They Say It's Wonderful," "I Got the Sun in the Morning," and the classic anthem "There's No Business Like Show Business."

Annie Get Your Gun is unquestionably a product of the 1950s. Keel's relentless chauvinism and Hutton's constant fawning over him grow tiresome (though she does stand up to him in a battle of the sexes), and the Indians wear full headdresses and face paint, say "Ugh," and destroy modern conveniences. (In the name of political correctness, the 1999 Broadway revival starring Bernadette Peters removed "I'm an Indian Too" and received its own share of criticism from purists.) Quibbles aside, the excellent cast and immortal score make Annie Get Your Gun a classic musical. It's great to have it back. --David Horiuchi

Stork Club (1945)

A young hat check girl (Betty Hutton) at the Stork Club rescues an elderly man from drowning. Unbeknownst to her, the man she rescued is a millionaire who shows his gratitude by providing her a bank account and a luxury apartment, without anything expected in return. Things become complicated for our hat check girl when her boyfriend returns home from overseas to discover her with her new-found wealth and suspects she is a kept woman. Her new riches not only get in the way of her romantic life but with her dream of becoming a successful singer, as well.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

The Perils of Pauline