Krugman, Lou

The Man Who Knew Too Much

Alfred Hitchcock's 1956 remake of his own 1934 spy thriller is an exciting event in its own right, with several justifiably famous sequences. James Stewart and Doris Day play American tourists who discover more than they wanted to know about an assassination plot. When their son is kidnapped to keep them quiet, they are caught between concern for him and the terrible secret they hold. When asked about the difference between this version of the story and the one he made 22 years earlier, Hitchcock always said the first was the work of a talented amateur while the second was the act of a seasoned professional. Indeed, several extraordinary moments in this update represent consummate filmmaking, particularly a relentlessly exciting Albert Hall scene, with a blaring symphony, an assassin's gun, and Doris Day's scream. Along with Hitchcock's other films from the mid-1950s to 1960 (including Vertigo, Rear Window, and Psycho), The Man Who Knew Too Much is the work of a master in his prime. --Tom Keogh

Dr. Ben McKenna his wife Jo and their son Hank are on a touring holiday of Africa when they meet the mysterious Louis Bernard on a bus. The next day Bernard is murdered in the local marketplace but before he dies he manages to reveal details of an assassination about to take place in London. Fearing that their plot will be revealed the assassins kidnap Hank in order to keep the McKenna's silent. Ben and Jo go to London and take matters into their own hands.System Requirements:Bonus Features: The Making of The Man Who Knew Too Much Production Photographs Trailers Production Notes Running Time: 120 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: PG UPC: 025192830723 Manufacturer No: 28307

Irma La Douce

In 1963, Billy Wilder's Irma La Douce was one of the biggest box-office hits of the year, grossing twice as much as The Great Escape and The Birds. Yet this popular movie has been almost completely forgotten by film history, even to fans of Wilder or stars Jack Lemmon and Shirley MacLaine (the same trio had made a masterpiece, The Apartment, three years earlier). It doesn't represent the best work of those legends, but Irma provides tart entertainment. At least some of the movie's popularity can be chalked up to its subject, which was pretty risqué for the time: Lemmon plays a Paris policeman who falls in love with a prostitute (MacLaine). The script was adapted from a stage musical, but Wilder decided to cut the songs, instead developing the humor and romance into his own blend of bittersweet perversity; this Technicolor-fantasy Paris is kind of a dark cousin to Gigi. Lemmon is in his prime period of hand-wringing self-doubt, and MacLaine is perfectly in tune with his rhythms, especially in scenes that add tenderness to the sometimes queasy mix of moods. Ironically--given the nixing of the songs--the film won its only Oscar for André Previn's adaptation of the stage play's music into a wordless orchestral score. --Robert Horton

I Want to Live!

Susan Hayward won an Academy Award® for her performance in the compelling 1958 classic I Want to Live! Hayward plays Barbara Graham, a "good-time girl" with a heart of gold and absolutely no instincts about when to drop a bad association. After bouncing in and out of the prison system for a series of petty crimes, Graham suddenly finds herself framed for murder and facing the death penalty. Hayward is simply marvelous, giving a wrenching, complex performance without ever becoming maudlin. Director Robert Wise ratchets the tension up to a nearly unbearable level, making Barbara's moments of hope as agonizing as those of her despair. The film is based on the story of the real-life Barbara Graham, taken from her letters and interviews with reporter Ed Montgomery. Montgomery himself appears as a character, and the film is surprisingly evenhanded about condemning his own role in Graham's conviction. This is definitely a must-see for Hayward fans. --Ali Davis

Based on a true story this powerful drama stars Susan Hayward in her Best Actress Oscar-winning performance as a woman condemned by society and the law to a private hell. She plays Barbara Graham a fast-living party girl who finds herself facing a death sentence for something she didn't do. Framed by the real killer she is desperate to clear herself.System Requirements:Starring: Susan Hayward. Running Time: 121 Min. This film is presented in "Widescreen" format. Copyright 2002 MGM Studios. Genre: DRAMA Rating: NR UPC: 027616875792 Manufacturer No: 1003430

Where the Sidewalk Ends (Fox Film Noir)

Otto Preminger made four films noirs at Fox, all terrific. If we set aside the peerless Laura as more psychological mystery-romance than noir, there's plenty of evidence for judging Where the Sidewalk Ends the best of the lot (the other two being Fallen Angel, a study in small-town perversity, and Whirlpool, a delicious exercise in creepy psychology, slippery mise-en-scène, and daringly complicated point-of-view). It's a hard-edged tale of a borderline-vicious New York police detective, Mark Dixon (Dana Andrews), with tortuous personal reasons for overzealousness in going after the bad guys. Much of the film unreels in one night, when the murder of a high-roller from out of town precipitates a string of events that lead to Dixon's becoming an accidental killer. Preminger's direction is taut, forceful, and fluid, especially when Dixon sets about creating an alibi for himself. Unfortunately, an innocent man gets implicated, with Dixon looking on, and the guilty cop's moral and psychological torment increases with each turn of the screw.

Tightly scripted by Ben Hecht, Preminger's film lacks the anguished poetry of Nicholas Ray's On Dangerous Ground, another 1950 noir centered on a cop (Robert Ryan) addicted to ultraviolence, but its grip is relentless. Preminger had a shrewd instinct for tapping a certain thuggish strain in Andrews, whose performance here is arguably his best. They're reunited with Gene Tierney, as a woman caught in the sidewash of sordid goings-on, and Laura cameraman Joseph La Shelle, whose work has a luster beyond the accustomed semidocumentary look of Fox noirs. Gary Merrill, usually a bland nice-guy, relishes the chance to play nasty as Dixon's gangland bête noire Tommy Scalise, a homoerotic villain in the Tommy Udo vein with a menthol inhaler as fetish object. --Richard T. Jameson

Kim

The boy Kim knows how to scrounge up a hot meal in India's bustling cities how to scamper catlike across rooftops and disguise himself as a local and conceal his Anglo heritage. To Kim these are just ways to be free. To colonial British intelligence they're skills it knows will be useful when it makes Kim a spy. Like Gunga Din Captains Courageous and The Man Who Would Be King Kim belongs to the treasury of films based on Rudyard Kipling works.Running Time: 113 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569575226

Irma la Douce [Region 2]

In 1963, Billy Wilder's Irma La Douce was one of the biggest box-office hits of the year, grossing twice as much as The Great Escape and The Birds. Yet this popular movie has been almost completely forgotten by film history, even to fans of Wilder or stars Jack Lemmon and Shirley MacLaine (the same trio had made a masterpiece, The Apartment, three years earlier). It doesn't represent the best work of those legends, but Irma provides tart entertainment. At least some of the movie's popularity can be chalked up to its subject, which was pretty risqué for the time: Lemmon plays a Paris policeman who falls in love with a prostitute (MacLaine). The script was adapted from a stage musical, but Wilder decided to cut the songs, instead developing the humor and romance into his own blend of bittersweet perversity; this Technicolor-fantasy Paris is kind of a dark cousin to Gigi. Lemmon is in his prime period of hand-wringing self-doubt, and MacLaine is perfectly in tune with his rhythms, especially in scenes that add tenderness to the sometimes queasy mix of moods. Ironically--given the nixing of the songs--the film won its only Oscar for André Previn's adaptation of the stage play's music into a wordless orchestral score. --Robert Horton

I Want to Live! [Region 2]

Susan Hayward won an Academy Award® for her performance in the compelling 1958 classic I Want to Live! Hayward plays Barbara Graham, a "good-time girl" with a heart of gold and absolutely no instincts about when to drop a bad association. After bouncing in and out of the prison system for a series of petty crimes, Graham suddenly finds herself framed for murder and facing the death penalty. Hayward is simply marvelous, giving a wrenching, complex performance without ever becoming maudlin. Director Robert Wise ratchets the tension up to a nearly unbearable level, making Barbara's moments of hope as agonizing as those of her despair. The film is based on the story of the real-life Barbara Graham, taken from her letters and interviews with reporter Ed Montgomery. Montgomery himself appears as a character, and the film is surprisingly evenhanded about condemning his own role in Graham's conviction. This is definitely a must-see for Hayward fans. --Ali Davis

Sabaka