Lupone, Patti

Driving Miss Daisy (Special Edition)

Winner of the Academy Award for best picture of 1989, this gracefully moving drama, adapted from the hit play by Alfred Uhry, chronicles the 25-year friendship between a stubborn, aging Southern widow (Jessica Tandy) and her loyal chauffeur (Morgan Freeman). At first, the self-sufficient Miss Daisy is reluctant to accept the services of a chauffeur, but Hoke is quiet, wise, and tolerant, and as the years pass the unlikely friends develop a deep mutual respect and admiration. Tandy deservedly won the Oscar for her sassy and sensitive performance, and Freeman earned an Oscar nomination for bringing quiet depth and integrity to his memorable role. Ironically, director Bruce Beresford (Tender Mercies) was not nominated, but the film won Oscars for makeup and for Uhry's screenplay, in addition to a supporting actor nomination for Dan Aykroyd as Daisy's supportive son. Delicate, funny, and bittersweet, Driving Miss Daisy was a surprise hit when released, and marked the crowning achievement of Tandy's great career. --Jeff Shannon

Story of a friendship between a headstrong refined Southern woman and her patient chauffeur.
Genre: Feature Film-Drama
Rating: PG
Release Date: 7-JUN-2005
Media Type: DVD

Witness (Special Collector's Edition)(Widescreen)

No Description Available.
Genre: Feature Film-Drama
Rating: R
Release Date: 2-JAN-2007
Media Type: DVD

When Samuel (Lukas Haas), a young Amish boy traveling with his mother Rachel (Kelly McGillis), witnesses the murder of a police officer in a public restroom, he and his mother become the temporary wards of John Book (Harrison Ford), a detective who's been assigned to solve the crime. After suspect lineups and mug-shot books yield nothing, Samuel, in the most memorable scene of the film, recognizes the murderer as a narcotics agent whose picture he sees in the precinct. Once Book realizes that the police chief is in on it, too, he whisks Samuel and Rachel back home to Amish country, where he himself goes into hiding as a plain Amish man. The juxtaposition between the life of the Amish and the violence of inner-city police corruption work surprisingly well for the story, and Kelly McGillis as the falling in love widow gives an almost perfect performance. Directed by Peter Weir, the film is extremely successful in drawing the viewer into its world and, accordingly, is immensely entertaining. The only thing that mars its polish is the one-dimensional, almost cartoonish handling of the upper-echelon police corruption--a subtler, more realistic treatment of this aspect of the story would have rendered the film near perfect. --James McGrath

Heist

David Mamet's Heist is--not unlike many of his previous films--amusing, manicured, and fraught with an awkward tension. If you've seen The Spanish Prisoner or House of Games, you're by now familiar with the plot-subverting gambit of the double-cross turned triple- and then quadruple-cross. Heist sticks to the formula. Likewise, the quips and laconic wit that adorn what can most accurately be called "Mametspeak" are again on display: "Cute as a pail full of kittens," for instance, and "Everybody needs money; that's why they call it money." What you haven't yet seen in a Mamet film is the magisterial charm of Gene Hackman. In the role of Joe Moore, an aging criminal out for one final score before cashing in, Hackman shows us all (Mamet included) how it's done, embodying tough-but-clever effortlessly. Delroy Lindo, as Joe's partner Bobby, picks up on Hackman's ultra-cool and gives plenty in return. While the script and the remaining cast (Danny Devito, Rebecca Pidgeon, Sam Rockwell) are serviceable, Heist is entirely Hackman's show to steal. --Fionn Meade

Gene Hackman plays the veteran ringleader of a gang of theives (Delroy Lindo, Ricky Jay and Rebecca Pigeon as Hackman's youngish wife) that pulls off complex heists for a despicable fence (Danny DeVito). After stiffing the gang on a jewelry robbery, DeVito forces the gang to go after a Swiss gold shipment and to use his son (Sam Rockwell) in the crime. Mistrust runs rampant as double-crosses threaten the split-second operation.

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Leonard Bernstein's Candide (Great Performances)

When a show's pit band is the New York Philharmonic, you can expect something special, and that's what this all-star Candide delivers. It is a concert performance, without scenery but with costumes, makeup, a bit of dancing, and a lot of acting. Musically, it sounds like the best of all possible Candides. Besides an unusually talented cast, its strong points include the pacing and accentuation of Marin Alsop, one of the brightest individuals in the younger generation of conductors; the polished presence of Thomas Allen, who doubles as the narrator and Dr. Pangloss, and the spirited participation of the brilliant Westminster Symphonic Choir.

Taught in childhood to believe they live in "the best of all possible worlds," the young characters struggle to preserve their optimism through a harrowing sequence of war, famine, shipwreck, piracy, slavery, rape, and disease with a sparkle in their eyes and a tune on their lips, until, with difficulty, they finally reach a sense of reality.

Candide spans the traditional division between opera and Broadway. The soloists, all headliners, are recruited from both worlds. Broadway is represented by Patti LuPone, who became a legend in Evita, and Tony award winner Kristin Chenoweth. Paul Groves and Stanford Olsen have distinguished operatic backgrounds. They all sing Leonard Bernstein's catchy tunes and the show's clever lyrics with gorgeous voices, a lot of acting skill and a witty, flippant response to Voltaire's cynical (or, rather, realistic) philosophy. --Joe McLellan

Leonard Bernstein's brilliant comic operetta comes to dazzling new life under theguidance of director Lonny Price (A Class Act). Based on the classic Voltaire tale of an innocent young man's journey through a life filled with colorful characters and unexpected life lessons, this tune-filled frolic features Tony Award©-winners Patti LuPone and Kristin Chenoweth heading a dazzling cast with Paul Groves, Stanford Olsen, Sir Thomas Allen and the Westminster Symphonic Choir. The impeccable score (with lyrics by luminaries including Lillian Hellman, Dorothy Parker, Stephen Sondheim, Richard Wilbur and John La Touche) includes a host of delightful songs such as "Life Is Happiness Indeed," "It Must Be So," "You Were Dead, You Know" and "Make Our Garden Grow." Now enjoy this all-new production of a musical comedy favorite with Broadway's top stars!

Summer of Sam

It's important to note that Spike Lee's drama is not titled Son of Sam. Summer of Sam doesn't chronicle the killer as much as the times: the blistering hot summer of 1977 when the Big Apple's psyche was taken hostage by the lone gunman. We spot the killer (Michael Badalucco) in his mad ramblings, but the film centers on two friends from the Bronx: Vinny and Ritchie (John Leguizamo, Adrien Brody). Vinny and his wife, Dionna (Mira Sorvino), bury a bad marriage (he cheats at a drop of a hat) in the disco halls of the area. Ritchie returns to the neighborhood sporting punk hair, punk clothes, and a British accent that immediately infuriates the neighborhood boys oozing far too much testosterone. Cops, local mob leaders, and the guys on the street all have ideas who the killer is; neighborhood loners to Reggie Jackson (in the midst of World Series heroism) are on their misguided lists of suspects. When the film looks at how the citizens faced the fearful times, Lee scores with his energetic camerawork and pop soundtrack. Yet the film is banal in its domestic dramatics. The film takes large detours into Vinny's home sex life (stagnant) and Ritchie's extracurricular activities. One of the marriage arguments--though real and well acted--is so long and cliché-ridden you wonder if someone fell asleep in the editing booth. Add the point-blank killings and nonstop vulgarity and you have Lee's most unpleasant film. --Doug Thomas

In the summer of 1977 in New York City, a man called the Son of Sam commits numerous murders. As friends in a small Italian neighborhood become obsessed with the idea that the Son of Sam is someone nearby, the madman's plague of terror becomes the catalyst that prompts relationships to fall apart and trust to disintegrate into dread.
Genre: Feature Film-Drama
Rating: R
Release Date: 5-AUG-2003
Media Type: DVD

Sweeney Todd in Concert

The San Francisco Symphony Orchestra's 2001 concert production of Stephen Sondheim's witty shocker is musically superb and (even without scenery) theatrically effective. The performers are in costume and use a few essential props such as Todd's razor, but more than these details the quality of their singing and acting makes this production stand out. It looks like a final seal of approval at the end when Sondheim comes out, smiling, to take a bow.

Sweeney Todd evokes a special balance of horror and comedy because injustice, revenge, and cannibalism are the subjects of its grisly humor, balanced with moments of romantic idealism. George Hearn in the title role and Patti LuPone as the enterprising, utterly amoral pie seller Mrs. Lovett are both brilliant, with an excellent supporting cast. Members of the orchestra are occasionally seen behind the action, but frequent, effective close-up shots of the singers generate a dramatic atmosphere. --Joe McLellan

This delicious production of Stephen Sondheim's "Sweeney Todd: The Demon Barber of Fleet Street," a musical thriller of revenge and romance set in Victorian England, features Broadway diva Patti LuPone as Mrs. Lovett and veteran stage actor George Hearn in the title role. Premiering in 1979, the legendary "Sweeney Todd"--winner of nine New York Drama Critics Circle Awards and eight Tony Awards--is recorded with the San Francisco Symphony as conducted by Rob Fisher.

Now a major motion picture directed by Tim Burton and starring Johnny Depp! Opens in theaters December 21, 2007

Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 & The Best of the Tony Awards - The Plays)

The Broadway's Lost Treasures Collection consists of the three volumes previously released on DVD plus a never-before-available fourth disc, The Best of the Tony Awards: The Plays. The first three discs deliver what the title promises: historic performances of great moments in American musical theater televised on the Tony Awards starting in the 1960s and into the new millennium. Unlike some other arts, theater has rarely been well-documented, so it's a treat to see these numbers performed by the original artists rather than experience them through audio recordings or tepid movie adaptations. Sure, sound and picture quality are only adequate, some of the numbers are minimally staged and some appear to be lip-synched, and some of the performances that do have excellent film counterparts seem rather lackluster here. But those are minor drawbacks compared to the chance to see Gwen Verdon performing "All That Jazz" and "Nowadays" from Chicago and "Whatever Lola Wants" from Damn Yankees; John Raitt singing The Pajama Game's "Hey There"; Alfred Drake singing Kiss Me Kate's "Where Is the Life That Late I Led"); a 33-year-old Jerry Orbach performing Promises, Promises' "She Likes Basketball"; and 12-year-old Andrea McArdle breaking hearts in Annie's "Tomorrow."

The second and third volumes feature newer, fully staged performances that are almost indistinguishable from an actual show, including scenes from splashy, high-energy revivals such as Anything Goes (Patti LuPone and company performing the title tune) and Guys and Dolls (the fabulous "Sit Down You're Rockin' the Boat"), and new shows such as Grand Hotel (Michael Jeter and Brent Barrett in a gloriously exuberant "Take a Glass Together"), Les Miserables ("One Day More"), La Cage aux Folles (George Hearn solo and with a chorus line in drag in "I Am What I Am"), Ragtime (the opening number), and You're a Good Man, Charlie Brown (Kristin Chenoweth's "My New Philosophy"). The new generation of splashy dance-oriented musicals are also represented by the likes of the 42nd Street revival (the title tune and "We're in the Money"), Fosse ("Sing, Sing, Sing"), and Crazy for You ("I Can't Be Bothered Now").

The Best of the Tony Awards: The Plays features 19 of the dramatic and comedy excerpts showcased on the Tony Awards telecasts between 1969 and 2001. From 1969 are James Earl Jones and Jane Alexander in The Great White Hope and Art Carney in Lovers, and other performances include Maggie Smith and Margaret Tyzack in Lettice and Lovage (1990), John Lithgow and B.D. Wong in M. Butterfly (1988), Joan Allen and Peter Friedman in The Heidi Chronicles (1988), and Joe Mantegna and Ron Silver in Speed-the-Plow (1988). The performances aren't specifically organized by date or performer, but the collection concludes with four excerpts from August Wilson works followed by three Shakespearean works. The excerpts are brief, lasting 2-3 minutes each, and even though each segment is introduced by a narrator, this format clearly works better for musicals than it does for plays. Regardless, it remains a rare chance to see stage performances that for the most part are not available on home video. Collectors who already own the three musical volumes, however, will have to weigh how badly they want The Plays when they consider mostly duplicating their purchase with the Broadway's Lost Treasures Collection. --David Horiuchi

A comprehensive collection of great performances captured on film as part of the annual Tony Award® broadcasts. Broadway royalty and Tony® winners, including Lauren Bacall, Bebe Neuwirth, Robert Goulet, and Harvey Fierstein, serve as hosts and share their own Broadway and Tony® memories.

Produced as PBS specials, Broadway's Lost Treasures I, II, & III feature legendary stars—including Patti LuPone, Nell Carter, Jerry Orbach, Gwen Verdon, Ethel Merman, Kristin Chenoweth, Angela Lansbury, Joel Grey, and many more—performing musical numbers from legendary shows—including Anything Goes, Man of La Mancha, Guys and Dolls, Ain't Misbehavin', Chicago, Fosse, Miss Saigon, Crazy for You, and many many more.

The Best of the Tony® Awards-The Plays features acting greats, such as James Earl Jones, Maggie Smith, Annette Benning, Kevin Kline, and Morgan Freeman, performing key scenes from 19 celebrated plays, including The Great White Hope, The Heidi Chronicles, Fences, Hamlet, and Long Day's Journey Into Night.

For theatre lovers, it doesn't get any better than this!

State and Main

Pity the poor film director (William H. Macy). He's arrived with cast and crew in the perfectly Rockwellian town of Waterford, Vermont, only to discover that the local mill--a crucial location for his movie, since it's titled "The Old Mill"--burned down in 1960. The idealistic screenwriter (Philip Seymour Hoffman) would rather pursue a pure-hearted local (Rebecca Pidgeon) than do a last-minute rewrite; the town's aspiring politico (Clark Gregg) wants to milk the production for every dime it's worth; the oft-exposed bimbo starlet (Sarah Jessica Parker) is now balking at her contractual nude scene; and a local teenager (Julia Stiles) is only too willing to exploit the indiscretions of the film's skirt-chasing star (Alec Baldwin). And of course, the power-wielding producer (David Paymer) is panicking about everything.

Welcome to David Mamet's State and Main, the acclaimed writer-director's funniest and most accessible film to date, propelled by the rocket fuel of Mamet's show-biz experience and driven by an ensemble cast that simply couldn't be better. Naturally, the writer's dilemma is the meatiest one--will he be noble or sell out?--and Mamet arrives at a solution that's as hilarious as it is morally justified. Along the way, the rigors of filmmaking are explored with farcical abandon, such as how to provide a high-tech product placement... in a 19th-century story. Mamet's razor-sharp dialogue is gourmet popcorn here--each kernel yields a tasty surprise--and the whole scenario (intentionally modeled in the style of Preston Sturges) plays out with the breezy assurance of vintage screwball comedy. It's pure gold from start to finish, and even the closing credits offer another reason to laugh. --Jeff Shannon

Youngest Godfather

3 hour 2 part Mini series. Chronicles the life of Joseph Bonanno, one of the most legendary Mafia Godfathers.

Wise Guys

Best friends Harry and Moe are go-getters inside a Newark mob outfit. They go get the boss's drycleaning. They go get his car. Now they have a new task: go get each other. The boss has secretly hired each pal to whack the other. Brian De Palma whose Scarface and Carlito's Way are mobster-movie classics finds the genre's funny bone in a comedy "filled with ideas and gags and great characters. It never runs dry" (Roger Ebert Chicago Sun-Times). Dan Hedaya and Harvey Keitel are among the ensemble's portrayers of kingpins and palookas. And Danny DeVito and Joe Piscopo play the pals whose friendship might survive the mob - if they don't kill each other first.Running Time: 91 min.Format: DVD MOVIE Genre: COMEDY UPC: 012569675582

Brian De Palma is one of our most stylish and subversive directors of suspense and horror, but as much nervous laughter as his best films inspire he's out of his depth when trying to direct an out-and-out comedy, as this film proved. Danny De Vito and Joe Piscopo play lifelong friends and low men on the mafia totem pole. When they foul up, their boss (Dan Hedaya) offers each his life in exchange for a favor: He must kill his best friend. The idea of two friends not knowing that they each have a contract on the other's life should be good for a few laughs and De Vito works hard at it (Piscopo, on the other hand, is a hopeless case). But De Palma can't find the laughs in this film, despite the frenetic pacing and performances. --Marshall Fine