Lowe, Edmund

The Wings of Eagles

Cmdr. Frank "Spig" Wead was a pioneer aviator renowned screenwriter (whose works included John Ford's They Were Expendable) and a man of war. The skies beckoned Spig to action; a crippling injury ultimately left him powerless to act propelling him to discover the power of his pen. He was talented driven flawed a friend of Ford and the subject of this compassionate biography. John Wayne plays Spig and Ford directs The Wings of Eagles which also offers a fascinating glimpse into the ways and world of Ford: Ward Bond plays moviemaker John Dodge a role modelled on Ford. Maureen O'Hara Wayne's five-time co-star (including Ford's The Quiet Man) and Dan Dailey (of Ford's 1952 What Price Glory?) play Spig's indomitable wife Min and cigar-chomping sidekick "Jughead" Carson.Running Time: 110 min.Format: DVD MOVIE Genre: DOCUMENTARIES/MISC. UPC: 012569798632 Manufacturer No: 79863

John Ford had a big emotional investment in The Wings of Eagles, and his favorite star John Wayne rewarded the director with one of his strongest performances. The subject is Frank "Spig" Wead, Naval aviation legend turned Hollywood screenwriter, who had written Ford's very good 1932 movie Air Mail and his magnificent WWII elegy They Were Expendable (1945). On the latter, Ford made the extraordinary gesture of putting Wead's screenplay credit on the same main-title panel as his own.

Ford was fond of exploring the theme of "victory in defeat." Wead's life was made to order for that. The hell-raising flyboy shenanigans, and his flailing marriage to a scrappy Irish redhead (The Quiet Man's Maureen O'Hara reporting for duty), were abruptly curtailed by a fall that left him with severe spinal damage. He should never have been able to walk again, but he fought his way back to limited mobility and built a new career as a writer. And when WWII broke out, Wead talked his way into uniform once more and made a key contribution to the Pacific air war.

It would be satisfying to report that The Wings of Eagles is a triumph--that the broad comedy of the early reels cuts brilliantly against the raw pain of the Weads' marriage, the grief of a family broken and mended and broken again, the film's specters of death and deep frustration. There are powerful moments--especially the complex, scalding scene of the newly injured Spig dismissing Min (O'Hara) from his life. But the low comedy is very low, the visual style sometimes stark but more often just drab, and the screenplay is very choppy about the passage of time. Ford-Wayne pal Ward Bond turns up as a crusty movie director with a walking stick full of booze, an office full of Western memorabilia, and the nudge-nudge moniker "John Dodge." --Richard T. Jameson

Dinner at Eight

Dinner at Eight a vastly entertaining behind-closed-doors glimpse into the lives of the troubled and troublemaking Who's Who of people invited to a posh Manhattan party is served with ample helpings of humor and melodrama. Buoyed by the success of the studio's multistarred multistoried Grand Hotel the year before producer David O. Selznick aspired for something grander - and found it in this George Cukor-directed adaptation of the George S. Kaufman/Edna Ferber stage hit. Highlights include Jean Harlow and Wallace Beery's bitter battle of the sexes hostess Billie Burke's tizzy fit and Marie Dressler's grande dame worldliness. Of course there's only one way to catch all the great moments. Dinner at Eight. Don't be late.Running Time: 111 min.Format: DVD MOVIE Genre: COMEDY UPC: 012569507821

MGM originally promoted Dinner at Eight by touting the "all-star cast," but this is no run-of-the-mill omnibus picture. On the contrary, rather than cramming as many big names as possible into a lumbering vehicle, the movie's impeccably crafted script (by Edna Ferber and Herman J. Mankiewicz) and direction (by George Cukor) gave some immortal screen luminaries a chance to shine. For sheer bravery, John Barrymore's achingly poignant performance as Larry Renault, a washed-up matinee idol who has "outlived everything but his vanity," is unmatched. Barrymore's brother, Lionel, is equally touching as shipping magnate Oliver Jordan. Oliver vainly tries to save his family's century-old firm, at the same time hiding his financial and health troubles from his wife, Millicent, played to hysterical perfection by Billie Burke. The Great Depression is presented in microcosm as Millicent frets about throwing the ultimate society dinner, oblivious to the world tumbling down around her. She is forced to invite to her precious party such undesirables as crass financier Dan Packard ("He smells Oklahoma!"). Even worse in Millicent's eyes than Packard (Wallace Beery, doing an impressive steamroller imitation) is his social-climbing wife, Kitty (Jean Harlow, never funnier than she is here, malingering in bed gobbling chocolates, or braying at her husband: "I'm gonna be a lady if it kills me!"). Be sure to watch for Harlow's brief encounter with Marie Dressler, who brings an extraordinary winking wisdom to the role of aging star Carlotta Vance. As the two enter the dining room in the film's final scene, Harlow makes an offhand remark that elicits from Dressler one of the great screen double takes of all time. Like so much of Dinner At Eight, the moment is priceless. --Laura Mirsky

The Last Hurrah

In Old Arizona

Dillinger

Willie Sutton robbed banks during the Depression because he explained "That's where the money is." Former Indiana farmboy John Dillinger also knew where the money was. And his string of Depression-era early-1930s heists murders and daring jailbreaks were so bold and notorious he became Public Enemy #1. Dillinger Oscar-nominated* for its screenplay is the bullet-paced story of the man whose crimes captivated and terrified the nation. Lawrence Tierney plays the title role in his first film credit breaking free of screen anonymity and moving into a 50-year tough-guy career that would include 1947's Born to Kill and 1992's Reservoir Dogs. Perhaps it was a brutal early prison stretch that turned Dillingerfrom kid to killer. Perhaps he was a murderous thug to his core. Either way the Dillinger DVD presents his story with film-noir style and lets you decide. Fans of Lawrence Tierney Depression-era bank robbers and organized crime should buy the Dillinger DVD today!Running Time: 70 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569695368

Jean-Luc Godard dedicated his first film, Breathless, to Monogram Pictures, and Dillinger (1945) was probably the main reason why. Short and brutal, like the Depression outlaw's brashly improvisatory career, Max Nosseck's picture was a bit of an outlaw enterprise itself. In the '40s the major Hollywood studios had all taken a vow of chastity when it came to glorifying the headline-grabbing gangsters of the previous decade; Monogram ignored the embargo and barreled ahead, grabbing some headlines of its own and more box office than usual for a Poverty Row operation. Philip Yordan's script was Oscar-nominated (on the DVD's commentary track he co-credits his friend William Castle, director of Monogram's excellent When Strangers Marry), though the film has a patchwork feel to it, as if assembled and reassembled on the run. Directed by Max Nosseck, it's a hypnotic mix of bargain-basement filmmaking (lotsa stock footage and stark, minimalist sets), astute ripoff (the rain-and-gas-bomb robbery sequence from Fritz Lang's You Only Live Once), and Brechtian bravura. The storyline actually scants the ultraviolence (no Bohemia Lodge shootout) and all-star supporting cast (no Pretty Boy Floyd, no Baby Face Nelson) of Dillinger's real life--likely a matter of cost-cutting rather than abstemiousness. Newcomer Lawrence Tierney nails the guy's coldblooded freakiness and animal magnetism, and the supporting cast includes such éminences noirs as Marc Lawrence, Eduardo Ciannelli, and Elisha Cook Jr. Producers Maurice and Frank King would make the great Gun Crazy four years later. --Richard T. Jameson

The Wings of Eagles

John Ford had a big emotional investment in The Wings of Eagles, and his favorite star John Wayne rewarded the director with one of his strongest performances. The subject is Frank "Spig" Wead, Naval aviation legend turned Hollywood screenwriter, who had written Ford's very good 1932 movie Air Mail and his magnificent WWII elegy They Were Expendable (1945). On the latter, Ford made the extraordinary gesture of putting Wead's screenplay credit on the same main-title panel as his own.

Ford was fond of exploring the theme of "victory in defeat." Wead's life was made to order for that. The hell-raising flyboy shenanigans, and his flailing marriage to a scrappy Irish redhead (The Quiet Man's Maureen O'Hara reporting for duty), were abruptly curtailed by a fall that left him with severe spinal damage. He should never have been able to walk again, but he fought his way back to limited mobility and built a new career as a writer. And when WWII broke out, Wead talked his way into uniform once more and made a key contribution to the Pacific air war.

It would be satisfying to report that The Wings of Eagles is a triumph--that the broad comedy of the early reels cuts brilliantly against the raw pain of the Weads' marriage, the grief of a family broken and mended and broken again, the film's specters of death and deep frustration. There are powerful moments--especially the complex, scalding scene of the newly injured Spig dismissing Min (O'Hara) from his life. But the low comedy is very low, the visual style sometimes stark but more often just drab, and the screenplay is very choppy about the passage of time. Ford-Wayne pal Ward Bond turns up as a crusty movie director with a walking stick full of booze, an office full of Western memorabilia, and the nudge-nudge moniker "John Dodge." --Richard T. Jameson

Cmdr. Frank "Spig" Wead was a pioneer aviator, renowned screenwriter (whose works included John Ford's They Were Expendable) and a man of war. The skies beckoned Spig to action; a crippling injury ultimately left him powerless to act, propelling him to discover the power of his pen. He was talented, driven, flawed, a friend of Ford ? and the subject of this compassionate biography. John Wayne plays Spig and Ford directs The Wings of Eagles, which also offers a fascinating glimpse into the ways and world of Ford: Ward Bond plays moviemaker John Dodge, a role modelled on Ford. Maureen O'Hara, Wayne's five-time co-star (including Ford's The Quiet Man), and Dan Dailey (of Ford's 1952 What Price Glory?) play Spig's indomitable wife Min and cigar-chomping sidekick "Jughead" Carson.

Heller in Pink Tights

Heller in Pink Tights features a captivating if intriguingly awkward story born of an unusual number of powerful, creative voices behind the camera. The 1960 film's screenplay was co-written by Walter Bernstein (Fail Safe), whose blacklisting following his unfriendly testimony before the House Un-American Activities Committee ended the year before with Heller star Sophia Loren's wartime romance, That Kind of Woman. The equally legendary Dudley Nichols (Stagecoach) shared writing credit; Carlo Ponti (Blow-Up), Loren's strong-minded husband, co-produced; and Hollywood Golden Age director George Cukor (The Philadelphia Story) presided over the odd, Louis L'Amour-based Western.

Loren plays Angela Rossini, leading lady in a down-on-its-luck, traveling theatrical company barely held together by founder Tom Healy (a sympathetic but largely miscast Anthony Quinn). Always staying a step ahead of creditors and lawmen, the troupe stops in a Wyoming town where a hired gunman, Mabry (Steve Forrest), "wins" the reckless Angela, who has long had a romance with Healy, in a poker game. Determined to keep her even as he eludes assassins, Mabry attaches himself to the dispirited Healy's company as it rides through dangerous Indian territory. The final act finds all the principals battling their way to a resolution behind the scenes of a play at a theater Angela has built for Tom with money she stole from Mabry. It's all a little clunky, but Cukor ensures a certain vitality in the proceedings, moves comfortably between striking shifts of comedy to intense drama, makes Loren look great, and exposes--to an unexpected degree--a psychological bond between Angela and Mabry. --Tom Keogh

Based on a novel by Louis L'Amour and full of witty exchanges and a striking visual style, the film follows a vaudeville troupe that stays one step ahead of the bill collector as it tours the frontier circa 1880. The central premise finds ringleaders Angela Rossini (Loren) and Tom Healy (Quinn) needing a more flamboyant act than normal in order to entertain the citizens of the wild West.

Enchanted Forest

The innocence and magic of a childhood dream. The charm and adventure of a well told fairy tale. And the heartwarming thrill and human drama of a mother and child reunion. "The Enchanted Forest" is the captivating tale of a year old boy, lost in a vast redwood forest and saved by Old John (Harry Davenport) and his animal friends. This 1945 classic is a film no family should miss!