Kruger, Alma

His Girl Friday

The Front Page, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.

Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.

His Girl Friday is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T. Jameson

Saboteur

Alfred Hitchcock s exciting 1942 wartime thriller stars Robert Cummings as a Los Angeles aircraft factory worker who witnesses his plant s firebombing by a Nazi agent. During the deadly explosion Cumming s best friend is killed and he himself is wrongly accused of sabotage. To clear his name Cummings begins a relentless cross-country chase that takes him from Boulder Dam to New York s Radio City Music Hall and finally to a harrowing confrontation atop the Statue of Liberty.Hitchcock s first film with an all-American cast moves with breakneck speed towards its spine-tingling climax to create a riveting masterpiece of suspense.System Requirements:Running Time: 109 minutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: PG UPC: 025192831225 Manufacturer No: 28312

Robert Cummings stars as Barry Kane, a patriotic munitions worker who is falsely accused of sabotage, in this wartime thriller from Alfred Hitchcock. Plastered across the front page of every newspaper and hated by the nation, Kane's only hope of clearing his name is to find the real villain. If this sounds a bit like Hitchcock's later North by Northwest, it is. There are interesting echoes throughout, including a heart-stopping sequence on top of a national monument. But the most interesting thing about Saboteur is the frequency with which characters demonstrate their willingness to obstruct the police, going on nothing more than the fact that Kane seems like a stand-up guy. They do, again and again, apparently just because good people can spot other good people. Saboteur was made during the thick of World War II, so there are a few passages of heavy-handed jingoism to get through but they're relatively painless. The script as a whole is a clever one--Algonquin wit Dorothy Parker shares a screenwriting credit, and her trademark zingers make for a terrific mix of humor and suspense. Saboteur is a pleasure whether you're a die-hard Hitchcock fan or just someone who likes a good nail-biter. --Ali Davis

Marie Antoinette

The lavish, overstuffed house style of MGM in the 1930s gets a fluffy showcase in Marie Antoinette, a preposterous epic about the pampered Queen. One of MGM's longtime queens, Norma Shearer (who had been married to head of production/wonder boy Irving Thalberg until his death in 1936), plays the young Austrian girl imported to marry the man who would become Louis XVI of France. The film covers Marie's girly youth at court, through an affair with suave Tyrone Power (then in his early, dewy prime) and finally to the dark days of the Revolution. Like Sofia Coppola's 2006 version of the Queen's life, this film emphasizes glitz, and leaves the Royals mostly innocent of blame for what happens to the starving peasants. Unlike the Coppola picture, this one takes Marie and diffident husband Louis (Robert Morley, his film debut) through their imprisonment and all the way to the guillotine. The parade of enormous sets and opulent gowns contributes to the general sense of stodginess, even if one might pause to note the rather continental attitude toward Marie's extramarital needs. John Barrymore plays the declining Louis XV, but it's the childlike Morley that steals the show. Shearer's glamorous star turn might leave some viewers puzzled as to her appeal, although the very ordinariness of her personality actually works in concert with Marie's out-of-her-depth character. The project had been a pet of Thalberg's, and MGM went ahead with the film after his death, but it marked the end of Shearer's period of major stardom. The opposite of this film's highbrow literary approach can be found in Josef von Sternberg's The Scarlet Empress, with Marlene Dietrich, a delirious and cinematic treatment of a Queen abroad. (This DVD includes overture and entr'acte music.) --Robert Horton

Her eyes shine as brightly as the diamonds at her slender throat or as the countless candles that turn the Palace of Versailles into a light-drenched fantasy world. She is Marie Antoinette, Queen of France: beautiful, imperious, headstrong...and doomed. With an opulence exemplifying Hollywood's Golden Era at its most glamorous, the grandeur and revolutionary fervor of 18th-century France sweeps across the screen in this nominee for 4 Academy Awards?.* Elegant Best Actress Oscar? nominee Norma Shearer stars in the decades-spanning title role, Tyrone Power plays her ardent beloved, John Barrymore is crafty Louis XV and debuting Robert Morley portrays timid Louis XVI. From ballroom to boudoir to guillotine, Marie Antoinette is regal romantic adventure.

DVD Features:
Other:1938 MGM Shorts: Another Romance of Celluloid Hollywood Goes to Town Vintage Short Another Romance of Celluloid Goes Behind the Scenes on This and Other Studio Productions That Year
Theatrical Trailer

His Girl Friday

A newspaper editor and his ex-wife star reporter exchange verbal insults in his effort to keep her on the job by offering her a prison story scoop.
Genre: Feature Film-Comedy
Rating: UN
Release Date: 21-NOV-2000
Media Type: DVD

The Front Page, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.

Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.

His Girl Friday is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T. Jameson

Scandal in Paris

Suave, sardonic George Sanders eases through one of his most perfectly suited roles in this sly Douglas Sirk comedy, based on the (highly questionable) remembrances of real-life French rascal turned respected lawman and author Vidoq. Sanders plays his aristocratic thief with a blasé attitude and bemused smile. Born in a jail (his home for most of his life, as it turns out), he cons his way up from the gutter to high society. He rechristens himself with a name purloined from a fancy graveyard headstone and lands a position as the Paris chief of police after an elaborate display of Sherlock Holmesian deduction uncovers a cache of jewels stolen from his patron's house (jewels he stole himself, of course). It puts him in the perfect place to plot his biggest caper ever: cleaning out the Bank of Paris. Akim Tamiroff plays his croaking sidekick (a frog to Sanders's prince of crime, or perhaps more accurately a dragon to the sneaky St. George), and Gene Lockhart is his nemesis, the disgraced former chief of police who emerges as less a figure of fun than a sad clown. Sirk shot this little gem on a low budget almost belied by the tiny but richly realized sets, beautifully designed settings that create a Paris in miniature. His Continental wit and Sanders's droll delivery and impeccable manners add a knowing wink to the production. --Sean Axmaker

Made For Each Other

Oscar® winner* James Stewart earns himself a place among the screen s most notable actors (Hollywood Spectator) and Carole Lombard delivers the best performance of her career (Newsweek) in this humor-laced marital drama as refreshing as a breath of spring (Motion Picture Herald). Attorney John Mason (Stewart) marries Jane (Lombard) after a blissful one-day courtship. Life is wonderful until they are overwhelmed by the demands of John s hard-hearted boss a meddlesome mother-in-law and the birth of a baby. Just when the marriage is at the breaking point a crisis turns their world upside down. Will their newfound love falter or are the young newlyweds truly made for each other?System Requirements: Running Time 93 MinFormat: DVD MOVIE Genre: DRAMA Rating: NR UPC: 027616903839 Manufacturer No: 1006181

Produced in a time when films were both literally and figuratively black and white, Made for Each Other was unique in its effective blending of the comedic, the dramatic, and, as perhaps some would insensitively say, the melodramatic. Beautiful Carole Lombard and likeable James Stewart are Jane and John Mason, a couple who meet, fall madly in love, marry, and quickly have a baby. But while they--and the audience--are confident that they are meant for each other, life intercedes and the couple must meet with disapproving in-laws, job stress, financial challenges and, finally, a devastating illness.

Lombard and Stewart--and the genuinely good people they portray--are utterly compelling and charming. Say yawningly what you will about tradition, but the Masons' is a path many, if not most, go down. And unlike the wonderful but wholly fantasy world of peer Preston Sturges, director John Cromwell's universe is, like real life, full of ups and downs. It's an accessible, sensitive portrayal. He gives the audience characters they want to see succeed, and to see stay together in the process. It may be a tale of triumph of the human spirit, but its ultimate sentiment--one that celebrates the kindness of strangers--is thoroughly sweet, though in no way saccharine.

Look for a great supporting cast, including a blustery Charles Coburn as John Mason's boss, and Lucile Watson as Mason's interfering mother. --N.F. Mendoza

Dr. Kildare's Strange Case

His Girl Friday

The Front Page, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.

Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.

His Girl Friday is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T. Jameson

This hilarious re-working of The Front Page teams Grant and Rosalind Russell. This version adds the twin lures of sex and romance. Undoubtedly Grant's greatest comedic role.

Includes "Cary Grant On Film" - a documentary, an intro by Tony Curtis and the trailer for Gunga Din.

Menus: English • Spanish • Chinese • Japanese
Subtitles: Spanish • Chinese • Japanese

B&W/Color
Running Time: 133 min.

The Secret of Dr. Kildare

If you are a fan of classic movies this is one for your library. You have the richness of Lionel Barrymore as Dr. Gillespie, and the vulnerability of Lew Ayers as Dr. Kildare. The supporting roles help illuminate the danger in putting anothers well-being before your own. There is a drama with just enough humor relief to make for enjoyable evening watching old friends.

His Girl Friday

The Front Page, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.

Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.

His Girl Friday is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T. Jameson