Lyons, Cliff

Ben-Hur

In this Biblical epic, Jewish nobleman Ben Hur (Heston) struggles against Roman tyranny in 1st century Palestine.
No Track Information Available
Media Type: DVD
Artist: HESTON/HAWKINS/BOYD/HARAREET/G
Title: BEN-HUR (1959)
Street Release Date: 01/16/2007
Domestic
Genre: ACTION / ADVENTURE

Ben-Hur scooped an unprecedented 11 Academy Awards® in 1959 and, unlike some later rivals, richly deserved every single one. This is epic filmmaking on a scale that had not been seen before and is unlikely ever to be seen again. But it's not just running time or a cast of thousands that makes an epic, it's the subject matter, and here the subject--Prince Judah Ben-Hur (Charlton Heston) and his estrangement from old Roman pal Messala (Stephen Boyd)--is rich, detailed, and sensitively handled. Director William Wyler, who had been a junior assistant on MGM's original silent version back in 1925, never sacrifices the human focus of the story in favor of spectacle, and is aided immeasurably by Miklos Rozsa's majestic musical score, arguably the greatest ever written for a Hollywood picture. At four hours it's a long haul (especially given some of the portentous dialogue), but all in all, Ben-Hur is a great movie, best seen on the biggest screen possible. --Mark Walker

The Searchers (John Wayne Collection)

Working together for the 12th time John Wayne and director John Ford forged The Searchers into an indelible image of the frontier and the men and women who challenged it. Wayne plays ex-Confederate soldier Ethan Edwards a believer more in bullets than in words. He's seeking his niece captured by Comanches who massacred his family. He won't surrender to hunger thirst the elements or loneliness. And in his obsessive five-year quest Ethan encounters something he didn't expect to find: his own humanity.Running Time: 119 min.Format: DVD MOVIE Genre: WESTERN/MISC. Rating: NR UPC: 085391158653 Manufacturer No: 115865

A favorite film of some of the world's greatest filmmakers, including Martin Scorsese and Steven Spielberg, John Ford's The Searchers has earned its place in the legacy of great American films for a variety of reasons. Perhaps most notably, it's the definitive role for John Wayne as an icon of the classic Western--the hero (or antihero) who must stand alone according to the unwritten code of the West. The story takes place in Texas in 1868; Wayne plays Ethan Edwards, a Confederate veteran who visits his brother and sister-in-law at their ranch and is horrified when they are killed by marauding Comanches. Ethan's search for a surviving niece (played by young Natalie Wood) becomes an all-consuming obsession. With the help of a family friend (Jeffrey Hunter) who is himself part Cherokee, Ethan hits the trail on a five-year quest for revenge. At the peak of his masterful talent, director Ford crafts this classic tale as an embittered examination of racism and blind hatred, provoking Wayne to give one of the best performances of his career. As with many of Ford's classic Westerns, The Searchers must contend with revisionism in its stereotypical treatment of "savage" Native Americans, and the film's visual beauty (the final shot is one of the great images in all of Western culture) is compromised by some uneven performances and stilted dialogue. Still, this is undeniably one of the greatest Westerns ever made. --Jeff Shannon

Donovan's Reef

John Wayne's last film with mentor and long-time collaborator John Ford (The Searchers) is a 1963 comedy about a group of war veterans settled on a South Pacific island. When the daughter of one of them (Jack Warden) comes for a visit, the freewheeling status quo between the boys is disrupted. This is Ford in his chummy, amiable, roughhousing mode--think of Victor McLaglen's drunken fight scene in Ford's She Wore a Yellow Ribbon--and it is entirely pleasurable. Wayne is comfortable in his man's-man role, and Lee Marvin (who played Wayne's nemesis in The Man Who Shot Liberty Valance) is effectively roguish. --Tom Keogh

Two ex-Navy buddies are living a life of leisure on a South Pacific island until they are interrupted by a prim Bostonian in search of her father.
Genre: Feature Film-Comedy
Rating: NR
Release Date: 28-MAR-2006
Media Type: DVD

She Wore a Yellow Ribbon

A masterpiece of mood and heroics this second film in director John Ford's renowned cavalry trilogy (Fort Apache and Rio Grande are the others) features one of John Wayne's most moving performances as a cavalry officer in his final week of service on the frontier. Under makeup aging him some 20 years he inhabits the role of a wily veteran who knows the sting of war and vows to make his last mission one of peace. The ritual of outpost life the sweep of battle the advance of the patrol beneath ominous skies: She Wore a Yellow Ribbon an Academy Award winner* for its color cinematography paints a memorable portrait of the honor duty and courage in the finest tradition of the cavalry. And of Ford filmmaking.Running Time: 103 min.Format: DVD MOVIE Genre: WESTERN/MISC. Rating: NR UPC: 053939791525 Manufacturer No: T7915

The second installment of John Ford's famous cavalry trilogy (which also includes Fort Apache and Rio Grande), this meditative Western continues the director's fascination with history's obliteration of the past. It features one of John Wayne's more sensitive performances as Capt. Nathan Brittles, a stern yet sentimental war horse who has difficulty preparing for his impending military retirement. All things considered, he refuses to leave before fulfilling his obligation to the local Indian tribe. It's a film about honor and duty as well as loneliness and mortality. And Oscar-winner Winton C. Hoch beautifully photographs it in Remington-like Technicolor tones (you've never seen such stunning cloud-covered skies). The combination of melancholy and farce (Victor McLaglen makes a perfect court jester) evokes comparisons to Shakespeare. Best of all, the scene in which Wayne fights back tears when receiving a gold watch from his troops is unforgettably bittersweet. If you view the whole trilogy, it actually makes sense to save this for last. --Bill Desowitz

Taras Bulba

Set in the 16th century Ukraine two Cossack brothers find themselves battling each other when one wants to recover land from the treacherous Poles and the other falls in love with a Polish girl. Breathtaking scenes. Academy Award Nominations: Best (original) Score.System Requirements:Running Time; 122 mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE/CLASSICS Rating: NR UPC: 883904103073 Manufacturer No: M110307

"I will kiss the devil before my son wears a Polish collar!" declares Cossack warrior Taras Bulba, thus laying down the fundamental conflict of this epic film, based on the classic book by Russian novelist Nikolai Gogol. After the Polish army and the Cossacks defeat the Turks, the Poles betray their fierce collaborators in order to claim the Cossacks' ancestral home, the Steppes. Scattered, the Cossacks bide their time, and Bulba (Yul Brynner) sends his son Andrei (Tony Curtis) to a Polish college to learn the secrets of their culture. Though Andrei faces cruelty and prejudice, he falls in love with a Polish noblewoman, Natalia (Christine Kaufmann, a lovely German actress in one of her few English-language roles). Andrei, torn by love and loyalty to his people, risks everything in a desperate attempt to win Christine, even if it pits him against his own father. Taras Bulba is far from a great film--there are some laughable special effects, the battle scenes are confused and sluggish, and Curtis never quite loses his Bronx accent. Despite that, Curtis' star power comes through, and Yul Brynner tears up the screen with his amazing physical presence and emotional intensity; the man was truly a unique and compelling actor, who found only a few roles that suited him--this was one. By the end, Gogol's muscular plot catches you in its grip. The hypnotically gripping final scenes overcome all the cheesiness that came before. --Bret Fetzer

Rio Grande

The last and least memorable of John Ford's famous cavalry trilogy (following Fort Apache and She Wore a Yellow Ribbon), Rio Grande nonetheless has an interesting continuity about the gentlemanly rules of military conduct. Here the focus is on the family. While creating a heated controversy over his handling of the Apache war, John Wayne must also contend with disgruntled wife Maureen O'Hara and estranged son Claude Jarman Jr., a new recruit trying to earn his father's love and respect. Ford seems to suggest that there are two conflicting codes of honor in every cavalry officer's life, the personal as well as the professional, and that it takes an act of heroism to maintain both. It's fascinating to observe Wayne's progression throughout the trilogy, as his personal stakes intensify. Also, this is the first of five onscreen appearances between the Duke and O'Hara, each filled with a competitive spirit and stormy sexuality. --Bill Desowitz

The Long Ships

Looking for a rousing Viking adventure that's cheesy and entertaining? The Long Ships is just the movie for you. As England's greatest color cinematographer, Jack Cardiff had filmed 1958's The Vikings, so he was well-prepared to direct this exciting, occasionally grisly mini-epic (a British/Yugoslavian coproduction, filmed in Yugoslavia), which received mixed-to-favorable reviews when released in 1964. Back then, it was a perfect matinee marvel if you were young and impressionable, and it's still worth its weight in hot buttered popcorn. While that most contemporary of actors, Richard Widmark, is clearly out of place as a maverick Norse warrior, he's sufficiently valiant as he guides his Viking brother (Russ Tamblyn, still hot from West Side Story) and a long-ship full of warriors in search of a huge, solid-gold bell coveted by Mansuh (Sidney Poitier), a Moorish prince obsessed with retrieving the legendary bell at any cost. Treacherous maelstroms, lovely damsels, corny battles, and casual humor make The Long Ships a lot of fun--like a Ray Harryhausen adventure without the animated creatures. (Oh, and Mr. Poitier? James Brown called... he wants his hair back.) --Jeff Shannon

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

Seven Men From Now (Special Collector's Edition)

Not many Westerns can claim to be original. Seven Men from Now can. Its making, for the B-picture arm of John Wayne's Batjac company, was a modest enterprise. The screenwriter, Burt Kennedy, was just starting out; the director, Budd Boetticher, was a matador-turned-filmmaker with only one film of distinction (The Bullfighter and the Lady) in a journeyman career; the star, Randolph Scott, was regarded as "over the hill." Yet the three men's talents blended uncannily, producing not just a terrific Western but a cinema masterpiece--an ironical, beautifully spare bit of storytelling that became the ideal showcase for Scott's sandy reticence.

You don't want anybody synopsizing the story for you; there's little of it, really, yet how it's told makes it complex and compelling. We know, from a memorable first scene, that Scott is hunting down seven men who did something terrible. He will be thrown together with several other characters, including Lee Marvin as an affable but deadly rascal with whom he shares some history. Everybody has private reasons to be traveling through Apache country. Savor every syllable of the laconic dialogue, what people say and what they don't quite say--what they think they understand about one another's motives, except that that understanding keeps getting rearranged.

Seven Men from Now went missing after Wayne's death in 1979 threw the Batjac library into limbo. (Its success had inspired Scott, Boetticher, and Kennedy to collaborate on three other remarkable Westerns--The Tall T (1957), Ride Lonesome (1959), and Comanche Station (1960)--which, because they weren't made for Batjac, we've had little trouble seeing over the years.) The movie became legendary, a Holy Grail for film buffs. Now, with a beautiful restoration on DVD, it gets to be a movie again. A great one. --Richard T. Jameson

Bend Of The River

Besides being a terrific movie in its own right--and the second entry in a remarkable eight-film series teaming director Anthony Mann and star James Stewart--Bend of the River is also fascinating as a variation on one of the greatest Westerns. With or without anyone else's knowledge, screenwriter Borden Chase reworked scenes, character configurations, and much of the structure of Red River, the screenplay of which he had cowritten (from his own novel) for director Howard Hawks six years earlier. Seeing what Hawks and Mann did with some of the same scenes--a spooky night skirmish with Indians, for instance--makes for a compelling lesson in the transformative power of directorial style.

Instead of Texas and the Chisholm Trail, Bend of the River is set in the Oregon river country, with a wagon train substituting for an epic cattle drive. Wagonmaster Stewart, a man with a secret past he's determined to redeem, rescues another, not-so-ex-renegade (Arthur Kennedy) from a lynching. Stewart finds Kennedy a powerful ally in a fight but ultimately has to face him as a mortal enemy--and to revert to his old savage ways in order to save his adopted community. Along the trail, they are variously companioned and/or menaced by the likes of slick gambler Rock Hudson (compare the Cherry Valance part in Red River) and hard cases Harry (then Henry) Morgan, Royal Dano, and Jack Lambert. There's knockout scenery, as usual with Mann, and fight-to-the-death action as bracing as a plunge into an icy river. --Richard T. Jameson