Luez, Laurette

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

Unfaithfully Yours (Criterion Collection)

Preston Sturges has his great run in 1940-44, with a series of comedy masterpieces unparalleled in Hollywood film. 1948's Unfaithfully Yours proves that he still had the touch, if only he could have found a supportive studio for his genius. (It would've helped if Unfaithfully Yours had been a hit, which it was not.) Sir Alfred De Carter (Rex Harrison) is a witty, vain orchestra conductor, a celebrated man married to a beautiful woman (Linda Darnell). He becomes convinced of her infidelity, and while he is on the podium during a concert, he fantasizes three homicidal revenge fantasies--all set to the classics.

The conductor looks suspiciously like a self-portrait by Sturges, and the delicious dialogue comes pouring out of Rex Harrison like pearls from a goblet. The film's main disappointment is that it doesn't feature the teeming stock company of character actors that crowd Sturges's earlier pictures (although Rudy Vallee, Lionel Stander, and Edgar Kennedy come through nicely). The film, while morbid, is often laugh-out-loud funny, but it also has something sneakily brilliant to say about the gulf between art and life: how the exquisite timing and perfect mechanics of Sir Alfred's imagination come a-cropper when he actually tries to enact his fantasies. Unfaithfully Yours was remade in a not-bad version with Dudley Moore in 1984, but this one's the keeper. Too bad it couldn't save Sturges--this is the last worthy film in a too-brief career. --Robert Horton

In this pitch-black comedy from legendary writer-director Preston Sturges, Rex Harrison stars as Sir Alfred De Carter, a world-famous symphony conductor consumed with the suspicion that his wife is having an affair. During a concert, the jealous De Carter entertains elaborate visions of vengeance, set to three separate orchestral works. But when he attempts to put his murderous fantasies into action, nothing works out quite as planned. A brilliantly performed mixture of razor-sharp dialogue and uproarious slapstick, Unfaithfully Yours is a true classic from a grand master of screen comedy.

D.O.A.

A faceless figure marches down an endless hallway as dark, driving music underscores his doom. It's stocky, stalwart Edmond O'Brien, who plows through the police detective's office like he's got nothing to lose. "I want to report a murder," he demands, grim and sleepy-eyed. Who was killed? "I was." It's a brilliant opening to a memorable film noir classic. O'Brien is a CPA who flees his dull job and small California town for a wild weekend in San Francisco, only to be poisoned and doomed to certain death. With only days to live, his incredulity morphs into a searing drive to find his killers and stinging regrets for what might have been. O'Brien is a familiar noir face, but he usually plays figures of authority: a cop in White Heat; an investigator in The Killers. He's a little stiff here, but his blunt, unglamorous persona is perfect for the Everyman who is randomly visited by death. Rudolph Maté, a cinematographer turned director, moves from sun-bright day scenes to busy nighttime locations with few visual flourishes, but when he takes the camera into the streets of Los Angeles and San Francisco the film is energized with a gritty, restless vigor. It's one of the most relentlessly dark films noir ever made--taut, edgy, and low budget. Watch for the Bradbury building in the film's climax, made famous by its memorable use decades later in the sci-fi noir classic Blade Runner. --Sean Axmaker

A businessman who has been given a lethal dose of radium by a hired assassin tracks down his killer in a chase through the streets of Los Angeles.

D.O.A. (1950) DVD [Remastered Edition]

D.O.A. reflects the photographic roots of director Rudolph Mate. He compiled an impressive resume as a cinematographer in Hollywood from 1935 until turning to directing in 1947. Mate and director of photography Ernest Lazlo captured the lighting, locations, and atmosphere of brooding darkness expertly. While Dimitri Tiomkin was one of Hollywood's most renowned film composers who linked up with pantheon directors such as Alfred Hitchcock, and Frank Capra to create some of the most memorable film scores in movie history. Winner of four Oscars and nominated for many others, Tiomkin's D.O.A. score is integral to the melancholy mood of the film. Edmund O'Brien was a veteran of many film noirs (Act of Murder, 711 Ocean Drive, The Hitchhiker, among others) and won the Academy Award for Best Supporting Actor in 1954 for his portrayal of a frenetic press agent in The Barefoot Contessa.

Adventures of Fu Manchu

D.O.A.

A faceless figure marches down an endless hallway as dark, driving music underscores his doom. It's stocky, stalwart Edmond O'Brien, who plows through the police detective's office like he's got nothing to lose. "I want to report a murder," he demands, grim and sleepy-eyed. Who was killed? "I was." It's a brilliant opening to a memorable film noir classic. O'Brien is a CPA who flees his dull job and small California town for a wild weekend in San Francisco, only to be poisoned and doomed to certain death. With only days to live, his incredulity morphs into a searing drive to find his killers and stinging regrets for what might have been. O'Brien is a familiar noir face, but he usually plays figures of authority: a cop in White Heat; an investigator in The Killers. He's a little stiff here, but his blunt, unglamorous persona is perfect for the Everyman who is randomly visited by death. Rudolph Maté, a cinematographer turned director, moves from sun-bright day scenes to busy nighttime locations with few visual flourishes, but when he takes the camera into the streets of Los Angeles and San Francisco the film is energized with a gritty, restless vigor. It's one of the most relentlessly dark films noir ever made--taut, edgy, and low budget. Watch for the Bradbury building in the film's climax, made famous by its memorable use decades later in the sci-fi noir classic Blade Runner. --Sean Axmaker

D.O.A.

These are Movie Classics Digitally Remastered DVD's!! The Admiral Was A Lady 87 min. 1950 B& W In this comedy/romance, EX-WAVE Jean Madison encounters four fun-lovig, work hating men all wanting to marry her. Jimmy Stevens nearly gets pounded into hamburger in the boxing ring to prove his love. The Bigamist 79 min. 1953 B& W Joan Fontaine and Ida Lupino. Harry Graham (O'Brien), a lonely traveling salesman fnds love and marries an eligible young woman (Fontaine). He then finds another eligible young woman (Lupino) and marries her also. The drama unfolds as one of the wives becomes suspicious and learns the truth. D.O.A. 83 min. 1950 B& W Frank Bigelow goes to San Francisco for some fun prior to settling down with fiance Paula Gibson. After a night out, he wakes up and is told he's been poisoned and will soon die. He embarks on a frantic odyssey to find his own murderer. The Hitch-Hiker 71 Min. 1953 B& W Two young travelers make a huge mistake when they pick up a mysterious, psychotic, hitch-hiker who never closes his right eye- even when he sleeps. A suspenseful tale of terror on the highways.

D.O.A.

A faceless figure marches down an endless hallway as dark, driving music underscores his doom. It's stocky, stalwart Edmond O'Brien, who plows through the police detective's office like he's got nothing to lose. "I want to report a murder," he demands, grim and sleepy-eyed. Who was killed? "I was." It's a brilliant opening to a memorable film noir classic. O'Brien is a CPA who flees his dull job and small California town for a wild weekend in San Francisco, only to be poisoned and doomed to certain death. With only days to live, his incredulity morphs into a searing drive to find his killers and stinging regrets for what might have been. O'Brien is a familiar noir face, but he usually plays figures of authority: a cop in White Heat; an investigator in The Killers. He's a little stiff here, but his blunt, unglamorous persona is perfect for the Everyman who is randomly visited by death. Rudolph Maté, a cinematographer turned director, moves from sun-bright day scenes to busy nighttime locations with few visual flourishes, but when he takes the camera into the streets of Los Angeles and San Francisco the film is energized with a gritty, restless vigor. It's one of the most relentlessly dark films noir ever made--taut, edgy, and low budget. Watch for the Bradbury building in the film's climax, made famous by its memorable use decades later in the sci-fi noir classic Blade Runner. --Sean Axmaker

The classic suspense film that inspired the 1980̢۪s remake which featured Dennis Quaid, the original 1949 D.O.A. still makes the blood pulse with intrigue and excitement as vacationing CPA Frank Bigelow (Edmond O'Brien) becomes the recipient of a deadly poison known as iridium. Told by a doctor that he only has a few hours to live, Bigelow desperately retraces his movements of the previous 24 hours, trying to locate his murderer. See the one that started it all, a tense and gripping classic noir suspense film!

Prehistoric Women

The beautiful Tigri (Laurette Luez) and her amazonian stone age friends are convinced that men are only good for one thing. When they capture some potential mates, Engor (Allan Nixon) resents his treatment and escapes. During the wild pursuit that follows

D.O.A.

A faceless figure marches down an endless hallway as dark, driving music underscores his doom. It's stocky, stalwart Edmond O'Brien, who plows through the police detective's office like he's got nothing to lose. "I want to report a murder," he demands, grim and sleepy-eyed. Who was killed? "I was." It's a brilliant opening to a memorable film noir classic. O'Brien is a CPA who flees his dull job and small California town for a wild weekend in San Francisco, only to be poisoned and doomed to certain death. With only days to live, his incredulity morphs into a searing drive to find his killers and stinging regrets for what might have been. O'Brien is a familiar noir face, but he usually plays figures of authority: a cop in White Heat; an investigator in The Killers. He's a little stiff here, but his blunt, unglamorous persona is perfect for the Everyman who is randomly visited by death. Rudolph Maté, a cinematographer turned director, moves from sun-bright day scenes to busy nighttime locations with few visual flourishes, but when he takes the camera into the streets of Los Angeles and San Francisco the film is energized with a gritty, restless vigor. It's one of the most relentlessly dark films noir ever made--taut, edgy, and low budget. Watch for the Bradbury building in the film's climax, made famous by its memorable use decades later in the sci-fi noir classic Blade Runner. --Sean Axmaker