Landau, David

I Am a Fugitive From a Chain Gang

I Am a Fugitive from a Chain Gang is one of the toughest and most uncompromising movies to ever come out of Hollywood. Paul Muni stars as a regular Joe, just back from World War I, who is unjustly convicted of a crime and sentenced to 10 years of bruisingly unfair treatment on a chain gang. Even a successful escape can't shake the spectre of the chains, nor the amazingly fatalistic twists the screenplay has in store. This picture could only have been made at Warner Bros., where social-justice movies flourished in the 1930s and criticism of judicial systems and prisons was sanctioned. Muni's weird acting style (he was recently off Scarface) somehow fits the film's furious tone, and director Mervyn LeRoy--as in his earlier Little Caesar--was dexterous enough to build the action to an unforgettable ending. It's a film that filters the American Dream through Depression realities and noirish pessimism (with a streak of pre-Code sexual frankness--note the one-night "friend" Muni makes the night of his escape). This one holds up, folks; it's a stunner. --Robert Horton

Classic fact-based drama about an innocent man brutally victimized by the Depression-era criminal justice system.Running Time: 93 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569701021

Arrowsmith

One of John Ford's earliest talkies, Arrowsmith demonstrates the director's underrated knack for contemporary drama. Adapted (by acclaimed screenwriter Sidney Howard) from the novel by Sinclair Lewis, the film is a prestigious vehicle for Ronald Colman in the title role of Martin Arrowsmith, a promising physician whose research ambitions are curtailed when he improbably marries the adoring but comparably dim-witted nurse Leora (Helen Hayes), who relocates him to her South Dakota home and convinces him to be a country doctor. Unchallenged and unhappy, he readily accepts an offer to battle bubonic plague in the British West Indies, where he encounters both triumph and tragedy. Creaky logic and primitive sound quality don't stop Ford from crafting some still-impressive sequences (the island sequences prepared Ford for 1937's The Hurricane), and the theme of marriage-vs.-career remains timelessly relevant. Though not as powerful as the Lewis-based Dodsworth (1936), Arrowsmith is that later film's worthy companion. --Jeff Shannon

The legendary John Ford directs this provocative and acclaimed film based on the Pulitzer Prize-winning novel by Sinclair Lewis and adapted by Sidney Howard. Country doctor Martin Arrowsmith (Ronald Colman) is idealistic, hardworking and happily married to Leora (Helen Hayes). He's also about to make a terrible mistake. Lured away from his small practice by the prospect of wealth and important medical research, he takes a position with New York City's esteemed McGurk Institute. It's a big opportunitybut it brings bigger problems. The intense workload, a romance-minded socialite (MyrnaLoy) and a terrible plague outbreak are about to threaten everything Martin holds dear.

Horse Feathers

Imagine Groucho as the president of a college and Harpo and Chico as football players. It doesn't get much wackier than this. Horse feathers, indeed. Groucho is hilarious to watch as a hip professor. He's at his most rebellious singing "Whatever it is, I'm against it." Thelma Todd does some of her best vamping to help fix the big football game, which Harpo and Chico are supposed to throw. Naturally, the brothers have other ideas. For sheer laughter, this has to rate almost as high as Duck Soup, with the memorable speakeasy sequence, and the funniest football finale of all time, complete with banana peels and a chariot. --Bill Desowitz

The quintessential Marx Brothers comedy. Groucho, Harpo, Chico and yes, Zeppo, are at their manic peak in this uproariously anarchic parody of college life.

When The West Was Young

Land thieves and bandits battle pioneer settlers in the Old West.

Street Scene

As the mid-July sun sets on one of the summer's hottest days, little groups of people gather to discuss the newest neighborhood scandal. Standing in front of a rusty brownstone in Manhattan's West Sixties, they gossip about all the tenants of the building, but especially Mrs. Marrant, who has been seeing the local milkman behind her husband's back. When Mr. Marrant takes a trip out of town, the two lovers have a tragic meeting when her husband doubles back, catching them together. The confrontation will change everyone's lives forever, especially the Marrant's beautiful young daughter Rose (Sylvia Sidney, in one of her first starring roles), who is left to pick up the pieces of their shattered lives. Presented by Samuel Goldwyn and based on the Pulitzer Prize-winning drama by Elmer Rice, who also wrote the screenplay, director King Vidor (Duel In the Sun, Our Daily Bread) has fashioned a raw, harrowing and powerful film with striking camera work by Academy Award-winning cinematographer George Barnes (Rebecca) and musical direction by nine-time Oscar winner Alfred Newman (Camelot, The King and I).

Judge Priest

She Done Him Wrong

In her first starring film vehicle, She Done Him Wrong, Mae West is Lady Lou, a saloon singer and "slick article" who drives every man who sees her mad with desire. She positively oozes sex, but always with sly, self-mocking humor. Lady Lou remarking on the nude painting of her hanging over the bar: "I gotta admit that is a flash, but I do wish Gus hadn't hung it over the free lunch." West warbles several numbers in her Brooklyn-accented, sweetly nasal voice, accompanied by her famous suggestive roll of the eye and flip of the hip: "Frankie and Johnny," "Easy Rider," and "A Guy What Takes His Time."

Based on West's Broadway play Diamond Lil, the film is set in the Gay '90s, "a lusty, brawling, florid decade, when there were handlebars on lip and wheel and legs were confidential." The corny plot involves the eternal male rivalry for Mae's favors, as well as a white slavery ring that is shipping unsuspecting girls to the Barbary Coast. But the movie's real treat is the cat-and-mouse game between West's Lady Lou and the Hawk, a detective disguised as a missionary, played by a devastatingly handsome young Cary Grant. West: "Why don't you come up some time, see me? I'm here every night." Grant: "Yeah, but I'm busy every night." West: "What're you tryin' to do, insult me?... You can be had."

In She Done Him Wrong, Mae West is absolutely in her prime. Her one-of-a-kind intermarriage of eroticism and humor, worldly wisdom and scalding wit are presented with perfect panache. --Laura Mirsky

Street Scene

Judge Priest [Region 2]