Natwick, Mildred

Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor (Triple Feature)

The Quiet Man (Collector's Edition)

Blarney and bliss, mixed in equal proportions. John Wayne plays an American boxer who returns to the Emerald Isle, his native land. What he finds there is a fiery prospective spouse (Maureen O'Hara) and a country greener than any Ireland seen before or since--it's no surprise The Quiet Man won an Oscar for cinematography. It also won an Oscar for John Ford's direction, his fourth such award. The film was a deeply personal project for Ford (whose birth name was Sean Aloysius O'Fearna), and he lavished all of his affection for the Irish landscape and Irish people on this film. He also stages perhaps the greatest donnybrook in the history of movies, an epic fistfight between Wayne and the truculent Victor McLaglen--that's Ford's brother, Francis, as the elderly man on his deathbed who miraculously revives when he hears word of the dustup. Barry Fitzgerald, the original Irish elf, gets the movie's biggest laugh when he walks into the newlyweds' bedroom the morning after their wedding, and spots a broken bed. The look on his face says everything. The Quiet Man isn't the real Ireland, but as a delicious never-never land of Ford's imagination, it will do very nicely. --Robert Horton

The Court Jester

Danny Kaye spoofs Robin Hood and Scaramouche in this inventive slapstick swashbuckler. Portraying the clownish but good-hearted entertainer Hawkins, he infiltrates the court of the corrupt Basil Rathbone (up to his usual brand of cruel villainy) disguised as the legendary king of jesters, Giacomo. After a court sorceress hypnotizes Hawkins into believing he is also a legendary assassin, Hawkins has more identities than he can keep straight, and Kaye zips back and forth between them at, literally, a snap of the fingers. Comic highlights include a wonderful sword fight with Rathbone in which he constantly switches identities, and the classic "chalice from the palace/vessel with pestle" wordplay as Hawkins plays "hide the poison" and forgets where it is. With comely Glynis Johns as his spy-in-arms love interest, Angela Lansbury as the scheming princess, and Mildred Natwick as the dotty spellcaster, this is Danny Kaye at his comic best. --Sean Axmaker

Barefoot in the Park

Devotees of Neil Simon's repartee, such as in his Goodbye Girl and Brighton Beach Memoirs, will enjoy this earlier tale of domestic dispute between newlyweds. Corie (Jane Fonda) is the young housewife trying to keep life exciting while making a home for her and her husband, Paul (Robert Redford), on the fifth floor of a Greenwich Village walkup apartment. He's working hard at starting his career as lawyer; she's eager to be romantic and spontaneous; and the two have plenty to squabble about. The film suffers a bit from Corie's excessive perkiness and the odd lack of chemistry between the two actors. But those who find the dramatic conventions a bit stiff (some of the dialogue and action seems more suited for stage than screen) may still smile at the dated look (circa 1967) at home life. Mildred Natwick is superb as Corie's mother, and Charles Boyer milks his role as the elderly bohemian neighbor upstairs. --Jenny Brown

She Wore a Yellow Ribbon

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

Kiss Me Goodbye

This is a surprisingly winning little comedy, though hardly a hit. Extrapolated from Bruno Barreto's Dona Flor and Her Two Husbands, the film stars Sally Field as a woman about to embark on her second marriage after her first husband, a charismatic Broadway director and choreographer (James Caan), has died. But as she plans her wedding to the likable but unexciting Jeff Bridges, Caan returns from the dead. Though only she can see him, it's a formula for disaster: She begins to doubt her plans and wonders whether she'd be happier with Caan's ghost than with Bridges's live body. Meanwhile, everyone else begins to doubt her sanity because she's talking to a dead man. Better than critics gave it credit for being, although you'll probably enjoy it more if you've never seen the original. --Marshall Fine

James Caan is tap-dancing ghost. Jeff Bridges is the very much alive stuffed shirt. Together, they make the perfect match for Sally Field, the woman caught between both men in this uproarious romp through the supernatural. The spooky fun begins when Kay Villano is one week away from marrying the serious Dr. Rupert Baines, and an uninvited guest appears on the scene; the ghost of Kay's dead, but oh-so-debonair husband Jolly. Kay's predicament is made worse because no one else can see or hear Jolly but her. The celestial shenanigans are non-stop as the three superstars hysterically battle out an odd eternal triangle with deliciously new dimensions.

Dangerous Liaisons

Three Academy Awards(R) went to this sly seductive tale about the fatal attraction linking 18th century French aristocrats Glen Close John Malkovich and Michelle Pfeiffer. From the international stage hit.Running Time: 120 min.System Requirements:Starring: Michelle Pfeiffer Glenn Close John Malkovich Swoosie Kertz Uma Thurman Director: Stephen Frears Produced by Norma Heyman Hank Moonjean; written by Choderlos De Laclos Christoph; running time of 120 minutes; Closed Captioned. Copyright: 1988 Warner Bros. Interactive Menus Production Notes Video Format: Widescreen (no AR specified) Standard 1.33:1 (4.3) Enhanced for 16x9 TVs Subtitles: English Spanish and French Track Info: English: Dolby Digital 5.1 Surround French: Dolby Digital 5.1 SurroundFormat: DVD MOVIE Genre: DRAMA Rating: R UPC: 085391187226

A sumptuously mounted and photographed celebration of artful wickedness, betrayal, and sexual intrigue among depraved 18th-century French aristocrats, Dangerous Liaisons (based on Christopher Hampton's Les Liaisons Dangereuses) is seductively decadent fun. The villainous heroes are the Marquise De Merteuil (Glenn Close) and the Vicomte De Valmont (John Malkovich), who have cultivated their mutual cynicism into a highly developed and exquisitely mannered form of (in-)human expression. Former lovers, they now fancy themselves rather like demigods whose mutual desires have evolved beyond the crudeness of sex or emotion. They ritualistically act out their twisted affections by engaging in elaborate conspiracies to destroy the lives of their less calculating acquaintances, daring each other to ever-more-dastardly acts of manipulation and betrayal. Why? Just because they can; it's their perverted way of getting get their kicks in a dead-end, pre-Revolutionary culture. Among their voluptuous and virtuous prey are fair-haired angels played by Michelle Pfeiffer and Uma Thurman, who have never looked more ripe for ravishing. When the Vicomte finds himself beset by bewilderingly genuine emotions for one of his victims, the Marquise considers it the ultimate betrayal and plots her heartless revenge. Dangerous Liaisons is a high-mannered revel for the actors, who also include Swoosie Kurtz, Mildred Natwick, and Keanu Reeves. --Jim Emerson

Cheaper By the Dozen

Though it's impossible to gauge just how much of it is true, this endearing family comedy (based on the book by their children Frank B. Gilbreth Jr. and Ernestine Gilbreth Carey) is inspired by the true story of the husband-and-wife efficiency experts Frank and Lillian Gilbreth and their adventures raising 12 kids at the turn of the century. Director Walter Lang takes a loping pace through the episodes of family life: the kids descend upon the new school in force while Dad (fussy Clifton Webb) offers his unsolicited views on education; Dad takes his oldest daughter (wholesome Jeanne Crain) to the school dance and becomes the hit of the ball; a mass tonsillectomy becomes an opportunity to document the ordeal as an experiment in efficiency. Myrna Loy almost steals the film in her one standout scene, holding back a smirk while a birth-control advocate (played by Mildred Natwick) solicits this mother of 12 to speak at a rally, but her martini-dry comic deadpan is criminally underused in this picture, which is dominated by Webb's stern, military-like parenting and Crain's adolescent crises. Though this sometimes overly sentimental classic never builds to any real dramatic plateau or comic highlights, it maintains an even tone of good humor and warmth throughout, capturing a bygone era through the travails of a loving family. A charming sequel, Belles on Their Toes, followed two years later. --Sean Axmaker

This colorful depiction of life in a family of 12 children stars Clifton Webb as Frank Bunker Gilbreth, an eccentric father who prides himself on some truly unorthodox child-rearing methods. Based on the bestseller by two children of the real Mr. Gilbreth, this charming film co-starring Myrna Loy is "alive with big laughs" (Los Angeles Times).

Narrated by the oldest daughter (Jeanne Crain), the story follows a series of family crises over the years: from how the children over-whelmed their new school's administration office, to the time they threw a hospital into chaos when they arrived for a mass tonsillectomy. There's even a memorable encounter with a birth control advocate. Simultaneously hilarious and sentimental, "Cheaper by the Dozen is a family comedy in the truest sense.

The House Without a Christmas Tree

After a mother dies her family appears destined to spend the rest of its days picking up the pieces. In 1940's Nebraska a sweet and intelligent 10-year-old girl raises the ire of her bitter widower father who has never forgotten that his wife died while giving birth to their daughter. To illustrate for the girl that life does not come easy the father bars the family which also includes his mother from having a traditional Christmas tree. This yuletide though has a happy surprise for this home so desperately in need of holiday cheer.System Requirements:Running Time: 75 Mins.Format: DVD MOVIE Genre: CHILDREN/FAMILY Rating: NR UPC: 097368433144 Manufacturer No: 843314

The loss of a loved one is never easy and memories often make the holiday season especially difficult. Addie (Lisa Lucas) lost her mother when she was very young and, while she sometimes yearns for her mother, she is a happy well-adjusted ten-year old who wants nothing more than to have a Christmas tree in the living room. Addie's father (Jason Robards) absolutely refuses to have a Christmas tree in the house, but offers no explanation for his stubborn resolve which leads Addie to question his motives and his love for her. It falls to Addie's Grandmother (Mildred Natwick) to explain that her father is still immersed in grief over the loss of his wife and that the memories of Christmases past are simply too painful for him to endure. When Addie wins a tree at school, her father is enraged by both the presence of the tree in his home and the idea of his family accepting charity. Only by opening a line of communication and sharing their feelings and memories with one another can Addie and her father reconcile their differences and begin to understand one another. Set in 1964, this 1972 made-for-television special feels like a stage play with sets and scenery that evoke the essence of an age-gone-by. The message, of course, is timeless. (Ages 5 and older) --Tami Horiuchi

3 Godfathers

Fugitive bank robbers Robert (John Wayne) William (Harry Carey Jr.) and Pedro (Pedro Armendariz) stand at a desert grave. Caring for the newborn infant of the woman they just buried will ruin any chance of escape. But they won't go back on their promise to her. They won't abandon little Robert William Pedro. Director John Ford's Western retelling of the Biblical Three Wise Men tale remains a scenic and thematic masterpiece. Ford adds color to his feature-film palette capturing stunning vistas via cinematographer Winton Hoch who would win two of his three Academy Awards * for Ford films. Again populist-minded Ford asserts that even men of dissolute character can follow that inner star of Bethlehem to their own redemption.Running Time: 106 min.Format: DVD MOVIE Genre: WESTERN/MISC. UPC: 012569798595 Manufacturer No: 79859

It's hardly shameful that The Three Godfathers ranks as the slightest John Ford Western in a five-year arc that includes My Darling Clementine, Fort Apache, She Wore a Yellow Ribbon, Wagon Master, and Rio Grande. The source, a Peter B. Kyne story both hard-bitten and sentimental, had already been filmed at least five times--once by Ford himself as Marked Men (1919). The star of that silent version, Harry Carey, had recently died. This remake is dedicated to him ("Bright Star of the early western sky") and proudly introduces his son, Harry Carey Jr. (who had already appeared in Howard Hawks's Red River--as did his father--but we won't quibble).

Just before Christmas, three workaday outlaws (John Wayne, Pedro Armendáriz, Harry Carey Jr.) rob a bank in Welcome, Arizona, and flee into the desert. The canny town marshal (Ward Bond) moves swiftly to cut them off from the wells along their escape route, so they make for another, deep in the wasteland. There's no water waiting for them, but there is a woman (Mildred Natwick) on the verge of death--and also of giving birth. The three badmen accept her dying commission as godfathers to the newborn. Motley variants of the Three Wise Men, they strike out for the town of New Jerusalem with her Bible as roadmap. It becomes increasingly apparent that saving the child's life will cost them their own.

Ford's is the softest retelling of the tale; in place of Kyne's bitter/triumphant final twist, he adds a very broad comic postlude. Elsewhere, the nearly sacramental treatment of the mother's death is followed by an extended gosh-almighty sequence of the banditos reading up on childcare. But it's all played with great gusto and tenderness--especially by Wayne, who's rarely been more appealing. Visually the film is one knockout shot after another. This was Ford's first Western in Technicolor, as well as his first collaboration with cinematographer Winton Hoch. What they do with sand ripples and shadows and long plumes of train smoke is rapturously beautiful. It's also often too arty by half, but who can blame them? --Richard T. Jameson